Go to Street Corner Music on Greenfield and 9 ½ Mile, and get YOURS, Two great songs out of 16 that will have you shaking you head as longas you here them!!!!.....”People Make The World Go Round”...and “Wes” (Is Still In The House)....
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Diana Jean Krall, OC, OBC (born November 16, 1964) is a Canadian jazz pianist and singer, known for her contralto vocals. She has sold more than 6 million albums in the US and over 15 million worldwide. On December 11, 2009, Billboard magazine named her the second Jazz artist of the 2000–09 decade, establishing her as one of the best-selling artists of her time.
Krall is the only jazz singer to have eight albums debuting at the top of the Billboard Jazz Albums. To date, she has won five Grammy Awards and eight Juno Awards. She has also earned nine gold, three platinum, and seven multi-platinum albums.
Krall was born on November 16, 1964, in Nanaimo, British Columbia, Canada, the daughter of Adella A. (née Wende), an elementary school teacher, and Stephen James "Jim" Krall, an accountant. Her father played piano at home and her mother sang in a community choir. She was playing piano herself at the age of four and playing jazz in a local restaurant at 15. She went to the Berklee College of Music in Boston on a scholarship before going to Los Angeles to play jazz. She returned to Canada to release her first album in 1993.
Krall's mother died of multiple myeloma in 2002, within months of the pianist's mentors Ray Brown and Rosemary Clooney. Diana's only sibling, Michelle, is a former member of the Royal Canadian Mounted Police (RCMP).
Krall and British musician Elvis Costello were married on December 6, 2003, at Elton John's estate outside London. Their twin sons, Dexter Henry Lorcan and Frank Harlan James, were born December 6, 2006, in New York City.
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She led R&B veterans The Crusaders on the transatlantic hit "Street Life" (1979). This song stayed atop the U.S. jazz chart for twenty weeks and has since become both a rare groove and disco classic. It was featured in the soundtrack for the film, Sharky's Machine, and appeared in commercials in the early 2000s. She moved to Warner Bros. and after "Street Life," recorded and toured Europe with the Crusaders. Crawford was named the 'Most Outstanding Performer' at the 1980 Tokyo Music Festival.
Her follow up solo efforts included "One Day I'll Fly Away" (1980); "You Might Need Somebody" (1981); and "Rainy Night in Georgia" (1981); which all became soul standards. The album, Secret Combination (1981) stayed on the UK Albums Chart for sixty weeks, after which her profile dipped, despite a return to the UK Top Ten with "Almaz" in 1986. She remained with Warner Bros. through to the early 1990s, but was unable to score either a big R&B hit or major crossover success, despite having one of the most readily identifiable voices and distinctive approaches of any contemporary female vocalist.
Naked And True (1995) brought Crawford back to her roots: it included George Benson's "Give Me the Night", and confirmed her soul heritage by featuring Funkadelicists Bootsy Collins, Bernie Worrell and the Fred Wesley Horns. She enjoyed her highest profile of the decade when rising starlet, Shola Ama, had a worldwide hit with her 1997 cover of "You Might Need Somebody".
Crawford recorded a live session with Joe Sample on 24 July 2007 at Abbey Road Studios for Live from Abbey Road. The episode she shared with David Gilmour and Amos Lee was screened on the Sundance Channel in the U.S. and Channel 4 in the UK.
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AllMusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [...] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time."
Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unheard in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.
In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, and balladeer Johnny Hartman.
illespie was born in Cheraw, South Carolina, the youngest of nine children of James and Lottie Gillespie. James was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie's father died when he was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve. From the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia.
Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, essentially replacing Roy Eldridge as first trumpet in 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D.C., Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater. Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9, 1940. They remained married until his death in 1993.
Gillespie stayed with Teddy Hill's band for a year, then left and free-lanced with numerous other bands. In 1939, Gillespie joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, the instrumental "Pickin' the Cabbage", in 1940. (Originally released on Paradiddle, a 78rpm backed with a co-composition with Cozy Cole, Calloway's drummer at the time, on the Vocalion label, No. 5467).
After a notorious altercation between the two men, Calloway fired Gillespie in late 1941. The incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bach's 1997 film, The Spitball Story. Calloway did not approve of Gillespie's mischievous humor, nor of his adventuresome approach to soloing; according to Jones, Calloway referred to it as "Chinese music". Finally, their grudge for each other erupted over a thrown Spitball. Calloway never thought highly of Dizzy, because he didn't view Dizzy as a good musician. Once during a rehearsal, a member of the band threw a spitball. Already in a foul mood, Calloway decided to blame this on Dizzy. In order to clear his name, Dizzy didn’t take the blame and the problem quickly escalated into a fist fight, then a knife fight. Calloway had minor cuts on the thigh and wrist. After the two men were separated, Calloway fired Dizzy. A few days later, Dizzy tried to apologize to Calloway, but he was dismissed.
During his time in Calloway's band, Gillespie started writing big band music for bandleaders like Woody Herman and Jimmy Dorsey. He then freelanced with a few bands – most notably Ella Fitzgerald's orchestra, composed of members of the late Chick Webb's band, in 1942.
Gillespie avoided serving in World War II. In his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" He was thereafter classed as 4-F. In 1943, Gillespie joined the Earl Hines band. Composer Gunther Schuller said:
... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.
Gillespie said of the Hines band, "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit".
Then, Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, and it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's band because he wanted to play with a small combo. A "small combo" typically comprised no more than five musicians, playing the trumpet, saxophone, piano, bass and drums.
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John William Coltrane, also known as "Trane" (September 23, 1926 – July 17, 1967), was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and was later at the forefront of free jazz. He led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.
As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist.
Coltrane was born in his parents' apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23, 1926. His father was John R. Coltrane and his mother was Alice Blair. He grew up in High Point, North Carolina, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother and a close cousin. In June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, an alto. Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a "cocktail lounge trio", with piano and guitar.
To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan. He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor, where he was stationed at Manana Barracks, the largest posting of African-American servicemen in the world. By the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. Coltrane's musical talent was quickly recognized, though, and he became one of the few Navy men to serve as a musician without having been granted musicians rating when he joined the Melody Masters, the base swing band. He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946. Coltrane played alto saxophone on a selection of jazz standards and bebop tunes.
After being discharged from his duties in the navy, as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he "plunged into the heady excitement of the new music and the blossoming bebop scene." After touring with King Kolax, he joined a Philly-based band led by Jimmy Heath, who was introduced to Coltrane's playing by his former Navy buddy, the trumpeter William Massey, who had played with Coltrane in the Melody Masters. In Philadelphia after the war, he studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandole's tutelage through the early 1950s. Originally an altoist, during this time Coltrane also began playing tenor saxophone with the Eddie Vinson Band. Coltrane later referred to this point in his life as a time when "a wider area of listening opened up for me. There were many things that people like Hawk [Coleman Hawkins], and Ben [Webster] and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally." A significant influence, according to tenor saxophonist Odean Pope, was the Philadelphia pianist, composer, and theorist Hasaan Ibn Ali. "Hasaan was the clue to ... the system that Trane uses. Hasaan was the great influence on Trane’s melodic concept."
An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes." Parker became an early idol, and they played together on occasion in the late 1940s.
Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for trumpeter Miles Davis—possibly impressing him.
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Nat King Cole
Nathaniel Adams Coles (March 17, 1919 – February 15, 1965), known professionally as Nat King Cole, was an American singer who first came to prominence as a leading jazz pianist. He was widely noted for his soft, baritone voice, which he used to perform in big band and jazz genres, becoming a major force in popular music for three decades. Cole was one of the first African Americans to host a national television variety show, The Nat King Cole Show, and has maintained worldwide popularity since his death from lung cancer in February 1965.
Nathaniel Adams Coles was born in Montgomery, Alabama, on March 17, 1919. Cole had three brothers: Eddie (1910–1970), Ike (1927–2001), and Freddy (born 1931), and a half-sister, Joyce Coles. Each of Cole's brothers would later pursue careers in music as well. When Cole was four years old, he and his family moved to Chicago, Illinois, where his father, Edward Coles, became a Baptist minister. Cole learned to play the organ from his mother, Perlina Coles, the church organist. His first performance was of "Yes! We Have No Bananas" at four. He began formal lessons at 12 and eventually learned not only jazz and gospel music but also Western classical music; he performed "from Johann Sebastian Bach to Sergei Rachmaninoff."
The family lived in the Bronzeville neighborhood of Chicago, where he attended Wendel Phillips High School (the same school Sam Cooke would attend a few years later). Cole would sneak out of the house and hang around outside the clubs, listening to artists such as Louis Armstrong, Earl Hines and Jimmie Noone. He participated in Walter Dyett's renowned music program at DuSable High School.
Inspired by the performances of Earl Hines, Cole began his performing career in the mid-1930s while still a teenager, adopting the name Nat Cole. His older brother, Eddie, a bass player, soon joined Cole's band, and they made their first recording in 1936 under Eddie's name. They also were regular performers at clubs. Cole acquired his nickname, "King", performing at one jazz club, a nickname presumably reinforced by the otherwise unrelated nursery rhyme about "Old King Cole". He also was a pianist in a national tour of Eubie Blake's revue Shuffle Along. When it suddenly failed in Long Beach, California, Cole decided to remain there. He would later return to Chicago in triumph to play such venues as the Edgewater Beach Hotel.
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Idris Muhammad was born on November 13,1939, and began playing the drums at age 8 in his native New Orleans. By the time he was 16, he was performing in jazz bands. Muhammad became known as one of the most innovative drummers in soul music of the 1960's, performing with singers Sam Cooke, Jerry Butler, and The Impressions.
He played for the popular musical Hair while performing with the house band for the Prestige Label in the early 1970's. For the rest of that decade, he accompanied popular singer Roberta Flack, led his own band, and worked with Johnny Griffin and Pharaoh Sanders.
An excellent drummer who has appeared in many types of settings, Idris Muhammad became a professional when he was 16. He played primarily soul and R&B during 1962-1964 and then spent 1965-1967 as a member of Lou Donaldson's band. He was the house drummer at Prestige Records (1970-1972), appearing on many albums as a sideman. Of his later jazz associations, Muhammad played with Johnny Griffin (1978-1979), Pharoah Sanders in the 1980s, George Coleman, and the Paris Reunion Band (1986-1988). He has recorded everything from post-bop to dance music as a leader for such labels as Prestige, Kudu, Fantasy, Theresa, and Lipstick.
Muhammad's 1993 recording My Turn includes saxophonist Grover Washington, Jr. and trumpetor Randy Brecker, both of whom are also featured performers in this year's 25th Annual University of Pittsburgh Jazz Seminar and Concert.
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Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was an American jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "'Round Midnight", "Blue Monk", "Straight, No Chaser" "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't". Monk is the second most-recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed more than 1,000 pieces, whereas Monk wrote about 70.
His compositions and improvisations feature dissonances and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of silences and hesitations.
He was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances: while the other musicians in the band continued playing, he would stop, stand up from the keyboard, and dance for a few moments before returning to the piano.
Thelonious Sphere Monk was born two years after his sister Marion on October 10, 1917, in Rocky Mount, North Carolina, the son of Thelonious and Barbara Monk. His badly written birth certificate misspelled his first name as "Thelious" or "Thelius". It also did not list his middle name, taken from his maternal grandfather, Sphere Batts. A brother, Thomas, was born in January 1920. In 1922, the family moved to 243 West 63rd Street, in Manhattan, New York City. Monk started playing the piano at the age of six. Monk was largely self-taught. He attended Stuyvesant High School but did not graduate.
He toured with an evangelist in his teens, playing the church organ, and in his late teens he began to find work playing jazz. In the early to mid-1940s, Monk was the house pianist at Minton's Playhouse, a Manhattan nightclub. Much of Monk's style was developed during his time at Minton's, when he participated in after-hours "cutting competitions" which featured many leading jazz soloists of the time. The Minton's scene was crucial in the formulation of bebop and it brought Monk into close contact with other leading exponents of the emerging idiom, including Dizzy Gillespie, Charlie Christian, Kenny Clarke, Charlie Parker and, later, Miles Davis. Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at the club. Monk's style at this time was later described as "hard-swinging," with the addition of runs in the style of Art Tatum. Monk's stated influences included Duke Ellington, James P. Johnson, and other early stride pianists. In the documentary Thelonious Monk: Straight, No Chaser, it is stated that Monk lived in the same neighborhood in New York City as Johnson and knew him as a teenager.
Mary Lou Williams, who mentored Monk and his compatriots, spoke of Monk's rich inventiveness in this period, and how such invention was vital for musicians since at the time it was common for fellow musicians to incorporate overheard musical ideas into their own works without giving due credit. "So, the boppers worked out a music that was hard to steal. I'll say this for the 'leeches', though: they tried. I've seen them in Minton's busily writing on their shirt cuffs or scribbling on the tablecloth. And even our own guys, I'm afraid, did not give Monk the credit he had coming. Why, they even stole his idea of the beret and bop glasses."
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She was born Geetali Norah Jones Shankar to legendary Indian musician, Ravi Shankar, and Sue Jones in New York City. Fittingly, her birth name, Geetali, carries the meaning of "song" or "melodious", and was bestowed on her by her father. No one could have possibly imagined how fully she would embody that name, even while circumstances removed her from the influences of her father's musical gifts.
Norah Jones was raised by her mother in a Dallas suburb, and that's where her musical talents began to reveal themselves. She performed in church choirs, learned to play the piano and guitar, and even briefly tried her hand at the alto saxophone. She attended Interlochen Arts Camp, Booker T. Washington High School for the Performing and Visual Arts in Dallas, Texas, and the University of North Texas, where she majored in jazz piano, and won Best Student Music Awards for Best Jazz Vocalist (twice, in 1996 and 1997) and Best Original Composition (1996). At the age of sixteen, she officially shortened her name to Norah Jones, no longer carrying the Indian, "Geetali". Nonetheless, the "melodious song" was very much alive, and moving full-steam ahead.
Captivated by New York's musical energy, Jones moved back to her city of birth in 1999 to embark on the life course that would lead to her great success. Jones began playing with numerous artists and bands, including Wax Poetic and the Peter Malick Group, but it was by her collaboration with a group of her remarkably talented friends - Lee Alexander, Jesse Harris, Adam Levy, Richard Julian, Daru Oda, Andrew Borger and others - that she would take the world by storm and carve her name into music history. Performing with her new band, Jones burst upon the pop music scene with her auspicious debut album, Come Away With Me, released by Blue Note Records in 2002. The album of original compositions - having sold almost 10 million copies in the U.S. and over 20 million worldwide - swept the Grammy Awards in 2003 and established her as the 'genuine article' - destined for a brilliant career.
Two years later Jones followed up with Feels Like Home, another engaging and heartfelt album that, like her first, was the perfect blend of originals by Norah and other members of the band. Feels Like Home debuted at #1 on the Billboard charts, eventually selling over 4 million units in the U.S. and over 10 million worldwide.
Her third album, Not Too Late, was released in January, 2007 to both critical and public acclaim. A double-platinum seller, it has helped secure Jones' position as one of the best-selling female recording artists of the decade.
Further fleshing out her creative resumé, Jones starred in acclaimed director Kar Wai Wong's My Blueberry Nights (2007), along with Jude Law, Natalie Portman, and Rachel Weisz. While the film was largely dismissed by mainstream audiences, few could deny its intriguing visual beauty and composite artistry.
On her latest recording effort, The Fall, Jones took a new direction, experimenting with different sounds, and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River's Will Sheff, as well as Jesse Harris, with whom she'd won a Grammy for "Don't Know Why" in 2003. King also helped Jones gather an entirely new group of musicians to perform on the album, together achieving a sound that broadened her already diverse repertoire, while enhancing her professional image.
Creatively energetic, uniquely talented, and exquisitely beautiful - Norah Jones has brought great honor to her family's musical legacy, all the while, evolving into an artist of classic rendition; one who worthily stands among the most adored entertainers of our time.
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Help Us Keep Jazz Music Alive!
Gee Caver In Support of Baker's Keyboard Lounge
The tag line for my company, Key of Gee, is “Have A Very Musical Day”. My life is filled with rhythms and sounds. I am listening, writing reviews, singing and humming all day. A friend asked if I could go 24 hours without turning on music. I told him I could and then began to wonder “what was I thinking?”
I took the dare and learned a great lesson. I kept to my regular routine – up early tied up my walking shoes – headed out for some exercise with no IPod – no music!
Walking my regular route, I noticed a large pothole in the street. Every vehicle that hit that hole had a different sound da-dum da-dum. The business on the corner flies three flags. As the wind blew the flags there was a whip, pop, whip sound and the rope on the flags was banging the pole, clang um clang. I started smiling, is nature making me cheat?
Car horns blowing, loud mufflers, dogs barking, birds chirping -- the leaves on the tree – the sound of my shoes hitting the pavement -- everything has a sound – its own cadence.
For 24 hours, I didn’t turn on any music. I took the time to be present in the moment and enjoy my surrounding and heard some wonderful sounds. And I still had a Very Musical Day.
This year, Baker’s Keyboard Lounge celebrated 76 years of Jazz – maintaining its standing as the world’s oldest Jazz Club.
In an effort to keep the music playing, Roger Tucker and Three Quarter Step will host a Wednesday Night open mic Jazz Jam at Baker’s Keyboard Lounge. Come out and hear Jazz-America’s music performed by Detroit’s premier artists. In the weeks to come there will be fabulous door prizes and special celebrity guest performances. You won’t want to miss a week.
The open mic Jazz Jam starts Wednesday, October 20, 2010, 9:30pm. All Musicians and vocalists are invited to perform.
Baker’s is known for hosting the best in Detroit’s Jazz including: James Carter, Rayse Biggs, Calvin Brooks, Al McKenzie, Penny Wells, Allan Barnes, Vonne', Jazzeray, Gwen Dommond, David Myles and Mylestones, Guymon Ensley, Ange Smith, Ola Hemphill, Rene King-Jackson, Earl Klugh, Straight Ahead, Port of Call, to name a few. Come and experience standing on the stage that also hosted: Dave Brubeck, Donald Byrd, Oscar Peterson, Sunny Stitt, Kenny Burrell, Jon Lucien and Sea Wind. Mix with the spirits of Nat King Cole, Ella Fitzgerald, Liberace, Dr. Teddy Harris, Ken Cox, Donald Walden and the list goes on and on.
Calling All Past Performers -- It’s up to us to keep the music playing!
Baker’s Keyboard Lounge
Detroit, MI 48221
HAVE A VERY MUSICAL DAY!
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Born c. 1969, in St. Petersburg, FL; daughter of Lance (a saxophone player and keyboardist) and Linda Abair. Education: Attended University of Northern Florida; graduated from Berklee College of Music, magna cum laude, 1991.
At a time of sagging sales for contemporary and smooth jazz, pop-inspired saxophonist Mindi Abair has brought the cool factor back onto the jazz scene, boosting not only her own popularity, but that of an entire genre as well. With her heavy emphasis on the sounds of R&B and dance music as well as pop and rock, her jazz tunes defy categorization, and have attracted many new, young listeners to the genre. Although most clearly defined as a jazz musician, she cut her teeth playing the saxophone for pop superstars the Backstreet Boys. That connection showed clearly in her 2003 major label debut, It Just Happens that Way. "Lucy's," a single from the album, debuted at the number one position on the Radio & Records chart for most airplay. Following on the single's heels, the album itself landed in the top ten on the Billboard contemporary jazz chart.
Abair grew up in St. Petersburg, Florida, in a family of musicians. Her father, Lance, was a saxophone player and keyboardist. His band, the Entertainers, frequently played on the road, and Lance took his family along with him, including Abair and her mother, Linda. Abair was the third generation of musicians in the family; her grandmother had been an opera singer. Young Mindi Abair learned to play the piano when she was five years old, while on the road with her father. She soon fell in love with the saxophone, again following her father's example. She had learned to play the sax by the time she was eight years old, and that same year she began writing her own music.
By the time she reached high school, Abair was an accomplished musician, playing in her high school marching band, in which she also played drums. There was never a point at which she decided to make music her life, she recalled later, she simply always was a musician. Her early influences were not only the music of jazz musicians such as Bill Evans, Miles Davis, and others, but top 40 hits as well, and this blend of tastes defined her work in later years.
After graduation from high school, Abair won a full scholarship to the University of Northern Florida to study music. But she soon found that the music department was not receptive to her interest in contemporary jazz. "It was a great experience," she later explained to Kevin Walker in the Tampa Tribune, "but they were very traditional." After a year she transferred to the renowned Berklee College of Music in Boston. There she found herself at home with instructors and fellow students, who appreciated her desire to fuse jazz with rock, dance, and pop sounds. Among her most influential teachers was famous saxophone instructor Joe Viola, who helped her further hone her composition skills. After class she got even more experience playing in jam sessions with classmates in the dorms.
Following her graduation from Berklee, Abair moved to Los Angeles. Unlike many of her peers, she chose not to get a day job to help support herself; she expected her music to support her immediately. To this end, she put together a band to play in clubs at night and, lacking other work, she played on the streets of Santa Monica during the day. The gamble paid off when new age recording artist John Tesh spotted her in one of her club gigs and invited her to join a concert tour he was putting together. She accepted, and her career was off and running. More job offers rolled in, and soon she was playing with such acts as the Gap Band, Adam Sandler, Mandy Moore, Teena Marie, and perhaps most significantly, from 1999 to 2001, the pop group the Backstreet Boys.
Bud Harner, a Verve record label representative, caught one of Abair's acts in concert. He later described the scene to Dave Scheiber in the Chicago Sun-Times: "The whole place was just mesmerized by her, this beautiful, young, blond woman ... just burning on the horn." Abair was already committed to a long-term tour with the Backstreet Boys tour, so she and Harner agreed to talk when she returned.
For Abair, the gig with the Backstreet Boys--two years on the road as the band's featured sax player--marked a major milestone in her career. She played in 50,000-seat venues throughout the United States and Europe, making professional contacts and gaining valuable experience that would serve her well in her later career as a soloist. After her return from the tour in 2001, she sent Harner a demo CD, and Verve gave her a contract. The result was an album called It Just Happens that Way, Abair's major label debut. The title of the album came from a 1962 live album by jazz saxophone great Cannonball Adderley, on which he can be heard saying, as quoted on the Verve Music Group website, "Hipness is not a state of mind. It's a fact of life. You don't decide you're hip. It just happens that way."
The album debuted to brisk sales and to critical acclaim. A single from the album titled "Lucy's" hit the number one spot on the Radio & Records chart for most airplay, and the album itself climbed to the top ten on the Billboard contemporary jazz chart. The record label began receiving fan letters from teens, an accomplishment normally reserved for pop stars. Abair has said of her debut that it was the culmination of a lifetime of work, that all of her playing and practicing and performing had been leading up to this achievement. She couldn't have been happier, too, with the success of the album at music stores and among critics, who praised it for its fresh approach to jazz. Abair was proud, not only of landing her own recording contract and playing her own compositions, but for having achieved success in a field largely dominated by men.
Abair has continued to live in Los Angeles. As for the future, she has said she plans to produce many more albums, and to one day start a family. "I grew up on the road," she explained on the Verve website, "so I think I can pull it off.... But I have to meet someone first."
by Michael Belfiore
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(born 4 January 1942, Doncaster, South Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion.
In 2010 guitarist Jeff Beck called him "the best guitarist alive". The Indian tabla maestro Zakir Hussain has called him "one of the greatest and one of the important musicians of our times". In 2003 McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".
After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.
From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child and took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stephane Grappelli. He moved to London from Yorkshire in the early 1960s, playing with Alexis Korner and the Marzipan Twisters before moving on to Georgie Fame and the Blue Flames, the Graham Bond Organisation (in 1963) and Brian Auger. During the 1960s he often had to support himself with session work which he often found unsatisfying but which enhanced his playing and sight-reading.
McLaughlin moved to the U.S. in 1969 to join Tony Williams' group Lifetime. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!"
He played on Miles Davis' albums In A Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist on "Go Ahead John") and A Tribute to Jack Johnson. In the liner notes to Jack Johnson, Davis called McLaughlin's playing "far in." McLaughlin returned to the Davis band for one night of a week-long club date, recorded and released as part of the album Live-Evil and of the Cellar Door boxed set. His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.
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[MIXTAPE] Steven Darnell The Steven Darnell Project
Hello History of Jazz friends my CD was released Entitled Longoverdue. You can go to youtuube music under Lady Madam Coco Longoverdue and hear my songs. You can also connect to my webpage ladymadamcoco.com.
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Its not a gang its not a movement its a lifestle