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)....
Preserving The Past and Presenting The Future of Jazz Music
The Jazz Messengers
In the '60s, when John Coltrane and Ornette Coleman were defining the concept of a jazz avant-garde, few knowledgeable observers would have guessed that in another 30 years the music's mainstream would virtually bypass their innovations, in favor of the hard bop style that free jazz had apparently supplanted. As it turned out, many listeners who had come to love jazz as a sophisticated manifestation of popular music were unable to accept the extreme esotericism of the avant-garde; their tastes were rooted in the core elements of "swing" and "blues," characteristics found in abundance in the music of the Jazz Messengers, the quintessential hard bop ensemble led by drummer Art Blakey. In the '60s, '70s, and '80s, when artists on the cutting edge were attempting to transform the music, Blakey continued to play in more or less the same bag he had since the '40s, when his cohorts included the likes of Charlie Parker, Miles Davis, and Fats Navarro. By the '80s, the evolving mainstream consensus had reached a point of overwhelming approval in regard to hard bop: this is what jazz is, and Art Blakey — as its longest-lived and most eloquent exponent — was its master.
The Jazz Messengers had always been an incubator for young talent. A list of the band's alumni is a who's who of straight-ahead jazz from the '50s on — Lee Morgan, Wayne Shorter, Freddie Hubbard, Johnny Griffin, Jackie McLean, Donald Byrd, Bobby Timmons, Cedar Walton, Benny Golson, Joanne Brackeen, Billy Harper, Valery Ponomarev, Bill Pierce, Branford Marsalis, James Williams, Keith Jarrett, and Chuck Mangione, to name several of the most well-known. In the '80s, precocious graduates of Blakey's School for Swing would continue to number among jazz's movers and shakers, foremost among them being trumpeter Wynton Marsalis. Marsalis became the most visible symbol of the '80s jazz mainstream; through him, Blakey's conservative ideals came to dominate the public's perception of the music. At the time of his death in 1990, the Messenger aesthetic dominated jazz, and Blakey himself had arguably become the most influential jazz musician of the past 20 years.
Blakey's first musical education came in the form of piano lessons; he was playing professionally as a seventh grader, leading his own commercial band. He switched to drums shortly thereafter, learning to play in the hard-swinging style of Chick Webb and Sid Catlett. In 1942, he played with pianist Mary Lou Williams in New York. He toured the South with Fletcher Henderson's band in 1943-1944. From there, he briefly led a Boston-based big band before joining Billy Eckstine's new group, with which he would remain from 1944-1947. Eckstine's big band was the famous "cradle of modern jazz," and included (at different times) such major figures of the forthcoming bebop revolution as Dizzy Gillespie, Miles Davis, and Charlie Parker. When Eckstine's group disbanded, Blakey started a rehearsal ensemble called the Seventeen Messengers. He also recorded with an octet, the first of his bands to be called the Jazz Messengers. In the early '50s, Blakey began an association with Horace Silver, a particularly likeminded pianist with whom he recorded several times. In 1955, they formed a group with Hank Mobley and Kenny Dorham, calling themselves "Horace Silver and the Jazz Messengers." The Messengers typified the growing hard bop movement — hard, funky, and bluesy, the band emphasized the music's primal rhythmic and harmonic essence. A year later, Silver left the band, and Blakey became its leader. From that point, the Messengers were Blakey's primary vehicle, though he would continue to freelance in various contexts. Notable was a 1963 Impulse record date with McCoy Tyner, Sonny Stitt, and Art Davis; a 1971-1972 world tour with "the Giants of Jazz," an all-star venture with Thelonious Monk, Dizzy Gillespie, Sonny Stitt, and Al McKibbon; and an epochal drum battle with Max Roach, Elvin Jones, and Buddy Rich at the 1964 Newport Jazz Festival. Blakey also frequently recorded as a sideman under the leadership of ex-Messengers.
Blakey's influence as a bandleader could not have been nearly so great had he not been such a skilled instrumentalist. No drummer ever drove a band harder; none could generate more sheer momentum in the course of a tune; and probably no drummer had a lower boiling point — Blakey started every performance full-bore and went from there. His accompaniment style was relentless, and woe to the young saxophonist who couldn't keep up, for Blakey would run him over like a fullback. Blakey differed from other bop drummers in that his style was almost wholly about the music's physical attributes. Where his contemporary Max Roach dealt extensively with the drummer's relationship to melody and timbre, for example, Blakey showed little interest in such matters. To him, jazz percussion wasn't about tone color; it was about rhythm — first, last, and in between. Blakey's drum set was the engine that propelled the music. To the extent that he exhibited little conceptual development over the course of his long career, either as a player or as a bandleader, Blakey was limited. He was no visionary by any means. But Blakey did one thing exceedingly well, and he did it with genius, spirit, and generosity until the very end of his life.
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Charles Frank "Chuck" Mangione (/mændʒiˈoʊni/; born November 29, 1940) is an American flugelhorn player, trumpeter and composer who achieved international success in 1977 with his jazz-pop single, "Feels So Good." Mangione has released more than thirty albums since 1960.
Born and raised in Rochester, New York, Mangione and his pianist brother Gap led the Jazz Brothers group which recorded three albums for Riverside Records. He attended the Eastman School of Music from 1958 to 1963, and afterwards joined Art Blakey's Jazz Messengers, for which he filled the trumpet seat, previously held by greats such as Clifford Brown, Freddie Hubbard, Kenny Dorham, Bill Hardman, and Lee Morgan.
In the late 1960s, Mangione was a member of the band The National Gallery, which in 1968 released the album Performing Musical Interpretations of the Paintings of Paul Klee. Mangione served as director of the Eastman jazz ensemble from 1968 to 1972, and in 1970, he returned to recording with the album Friends and Love, recorded in concert with the Rochester Philharmonic Orchestra and numerous guest performers.
Mangione's quartet with saxophonist Gerry Niewood was a popular concert and recording act throughout the 1970s. "Bellavia," recorded during this collaboration, won Mangione his first Grammy Award in 1977 in the category Best Instrumental Composition.
Mangione's composition "Chase the Clouds Away" was used at the 1976 Summer Olympics, held in Montreal, Quebec, with a later composition, "Give It All You Got," being used as the theme to the 1980 Winter Olympic Games, held in Lake Placid, New York. He performed it live at the closing ceremonies, which were televised globally. In 1978 Mangione composed the soundtrack for the film "The Children of Sanchez" starring Anthony Quinn. This album won him his second Grammy, in the category Best Pop Instrumental performance in 1979 and the title song, almost 15 minutes long in full version and featuring one of the most recognizable wind section themes, has not lost its popularity to this day. In 1981 Mangione composed/performed the theme for The Cannonball Run starring Burt Reynolds and many more.
In addition to his quartet with Niewood, Mangione also had much success with his later-‘70s ensemble, including Mangione on flugelhorn and keyboard, Chris Vadala on saxophones and flutes, Grant Geissman on guitars, Charles Meeks on bass and James Bradley, Jr. on drums. This version of Mangione’s band recorded and toured behind the hit studio albums “Feels So Good” and “Fun and Games,” as well as the “Children of Sanchez” film soundtrack recordings, and were some of the musicians who played on various songs as part of Mangione's 1980 “Tarantella" benefit concert.
The band was also featured, along with a 70-piece orchestra, on the live album “An Evening of Magic,” which was recorded at the Hollywood Bowl on July 16, 1978, at the height of Mangione’s success from “Feels So Good.” Performances of material new and old included versions of “Main Squeeze,” “Hill Where the Lord Hides” and “Chase the Clouds Away.” Mangione opened and closed the show with “Feels So Good” and its “Reprise” version. “B’Bye” featured a string arrangement from Bill Reichenbach. The horns were arranged by frequent collaborator Jeff Tyzik, who also played trumpet in the horn section that night. Mangione also played material from the just-released “Children of Sanchez” soundtrack album, which made its West Coast concert debut.
The liner notes from the album describe the frenzy in which the performance was put together. Unable to set up on stage the day before (The Los Angeles Philharmonic played the “1812 Overture” on July 15), Mangione and his crew had only the day of show to set up lights, sound and recording gear. He had only nine hours the day before to rehearse at A&M studios with the orchestra's musicians and was never able to run through the entire set list once in its entirety. He and the band stayed at a hotel up the street from the Bowl to make sure they wouldn't miss the performance due to snarled traffic pouring in as showtime neared.
Nevertheless, the show went off without a hitch.
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Carlos Wesley "Don" Byas (October 21, 1912 – August 24, 1972) was an American jazz tenor saxophonist, most associated with Bebop. He played with Count Basie, Duke Ellington, Art Blakey, and Dizzy Gillespie, among others, and also led his own band. He lived in Europe for the last 26 years of his life.
Don Byas was born in Muskogee, Oklahoma. Both of Byas' parents were musicians. His mother played the piano, and his father, the clarinet. Byas started his training in classical music, learning to play violin, clarinet and alto saxophone, which he played until the end of the 1920s. Benny Carter, who played many instruments, was his idol at this time. He started playing in local orchestras at the age of 17, with Bennie Moten, Terrence Holder and Walter Page. He founded and led his own college band, "Don Carlos and His Collegiate Ramblers", during 1931-32, at Langston College, Oklahoma.
Byas switched to the tenor saxophone after he moved to the West Coast and played with several Los Angeles bands. In 1933, he took part in a West coast tour of Bert Johnson’s Sharps and Flats. He worked in Lionel Hampton’s band at the Paradise Club in 1935 along with the reed player and arranger Eddie Barefield and trombonist Tyree Glenn. He also played with Buck Clayton, Lorenzo Flennoy and Charlie Echols.
In 1937, Byas moved to New York to work with the Eddie Mallory band, accompanying Mallory’s wife, the singer Ethel Waters, on tour, and at the Cotton Club. He had a brief stint with arranger Don Redman's band in 1938 and later in 1939-1940. He recorded his first solo record in May 1939: "Is This to Be My Souvenir" with Timme Rosenkrantz and his Barrelhouse Barons for Victor. He played with the bands of such leaders as Lucky Millinder, Andy Kirk, Edgar Hayes and Benny Carter. He spent about a year in Andy Kirk’s band, recording with him between March 1939 and January 1940, including a short solo on "You Set Me on Fire". In September 1940, he had an eight bar solo on "Practice Makes Perfect", recorded by Billie Holiday. He participated in sessions with the pianist Pete Johnson, trumpeter Hot Lips Page, and singer Big Joe Turner. In 1941 at Minton's Playhouse he played with Charlie Christian, Thelonious Monk and Kenny Clarke in after hours sessions.
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Though rooted in jazz, Byron's music is stylistically eclectic. He's worked in many different musical genres, ranging from klezmer music and German lieder, to Raymond Scott's "cartoon-jazz," hard rock/metal, and rap. Most of Byron's albums have been conceptual, devoted to works of a particular musician and/or style of music.
Byron was born in The Bronx, in New York City. Both parents were musicians: his mother a pianist and his father played bass in calypso bands. As well as listening to jazz recordings by Dizzy Gillespie, Miles Davis and others, he was exposed to other styles through trips to the ballet and symphony concerts.
He studied clarinet with Joe Allard and studied music at the New England Conservatory in Boston with George Russell. While in Boston, Byron performed and recorded with the Klezmer Conservatory Band, founded by NEC faculty member Hankus Netsky.
Byron is a gifted performer on clarinet, bass clarinet and saxophone, but on many of his albums he subordinates his own playing to the exploration of a particular style. Byron is representative of a new generation of conservatory-trained jazz musicians who explore and record in a rich array of styles; his first album, Tuskegee Experiments, is a stew of classical avant garde and jazz improvisation, while albums such as Ivey Divey represent a straight-ahead exploration of the traditional jazz 'tune'.
Byron is a practicing jazz historian, and some of his albums have been recreations (in spirit) of forgotten moments in the history of popular music. Examples are Plays the Music of Mickey Katz and Bug Music. Byron has been nominated for a Grammy award for his bass clarinet solo on "I Want to Be Happy" from Ivey-Divey.
Byron was also a judge for the 2nd annual Independent Music Awards to support independent artists' careers.
In 2001, Byron performed "Bli Blip" for the Red Hot Organization's compilation album Red Hot + Indigo, a tribute to Duke Ellington, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.
Byron was named a 2007 USA Prudential Fellow and awarded a US$50,000 grant by United States Artists, a public charity that supports and promotes the work of American artists. He also won a Guggenheim Fellowship in 2007.
Byron won the prestigious Rome Prize Fellowship awarded by the American Academy in Rome in 2009, and his Seven Etudes for solo piano, commissioned by pianist Lisa Moore made him a finalist for the Pulitzer Prize in Musical Composition in 2009.
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Booker Telleferro Ervin II (October 31, 1930 – July 31, 1970 was an American tenor saxophone player. His tenor playing was characterised by a strong, tough sound and blues/gospel phrasing. He is best known for his association with bassist Charles Mingus.
Ervin was born in Denison, Texas. He first learned to play trombone at a young age from his father, who played the instrument with Buddy Tate. After leaving school Booker joined the United States Air Force, stationed in Okinawa, during which time he taught himself tenor saxophone. After completing his service in 1953, he studied at Berklee College of Music in Boston. Moving to Tulsa in 1954, he played with the band of Ernie Fields.
Ervin moved to New York to join Horace Parlan's quartet, with whom he recorded Up & Down and Happy Frame of Mind (both for Blue Note Records). Ervin worked with Charles Mingus from 1956 to 1963, appearing on "Goodbye Pork Pie Hat" on the album Mingus Ah Um and "Wednesday Night Prayer Meeting" on Blues and Roots, as well as Mingus Mingus Mingus Mingus Mingus. During the 1960s Ervin also led his own quartet, recording for Prestige Records with ex-Mingus associate pianist Jaki Byard, along with bassist Richard Davis and Alan Dawson on drums. Ervin later recorded for Blue Note Records and played with pianist Randy Weston, with whom he recorded between 1963 and 1966. Weston has said: "Booker Ervin, for me, was on the same level as John Coltrane. He was a completely original saxophonist.... He was a master.... 'African Cookbook', which I composed back in the early '60s, was partly named after Booker because we (musicians) used to call him 'Book,' and we would say, 'Cook, Book.' Sometimes when he was playing we'd shout, 'Cook, Book, cook.' And the melody of 'African Cookbook' was based upon Booker Ervin's sound, a sound like the north of Africa. He would kind of take those notes and make them weave hypnotically. So, actually the African Cookbook was influenced by Booker Ervin."
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Guitarist Eddie Fisher, a Centreville, IL resident whose albums The Third Cup and The Next One Hundred Years blended jazz, soul, blues, funk and a touch of psychedelia to earn a substantial cult following among jazz guitar fans, has died after a long bout with cancer.
A native of Little Rock AR, Fisher toured with Solomon Burke and served as Albert King’s bandleader before establishing his career as a solo artist. He also lived in Memphis for a time before moving to the St. Louis area and becoming part of the house band at the Blue Note Club in East St. Louis. His first two records were released by Chicago’s Cadet label, a subsidiary of Chess, and a third, Hot Lunch, came out on the All Platinum label.
Fisher then started his own imprint, Nentu Records, and over the years released three more CDs: Fisher, The Promise, and 42nd Street. In addition, in 1994 he and his wife Christina began operating a video production business and theater in Centreville. Fisher had not performed much in recent years, presumably due to his health problems, but did manage to make a couple of non-playing public appearances when The Next One Hundred Years was reissued on CD last year. Fisher was voted into the Arkansas Jazz Hall of Fame in 2004.
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James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician and singer-songwriter. Despite a limited mainstream exposure of four years, he is widely considered to have been the greatest electric guitarist in the history of popular music, and one of the most important musicians of the 20th century.
Influenced musically by American rock and roll and electric blues, following initial success in Europe with his band the Jimi Hendrix Experience, he achieved fame in the US after his 1967 performance at the Monterey Pop Festival. Later, he headlined the Woodstock Festival in 1969, and the Isle of Wight Festival in 1970, before dying from drug-related asphyxia at the age of 27.
Instrumental in developing the previously undesirable technique of guitar amplifier feedback, Hendrix favored overdriven amplifiers with high volume, gain and treble. He helped to popularize the use of the wah-wah pedal in mainstream rock, which he often used to deliver tonal exaggerations in his solos. He also pioneered experimentation with stereophonic phasing effects in rock music recordings.
The recipient of several prestigious rock music awards during his lifetime and posthumously, the Jimi Hendrix Experience was inducted into the US Rock and Roll Hall of Fame in 1992, and the UK Music Hall of Fame in 2005. English Heritage erected a blue plaque to identify his former residence on Brook Street, London, in September 1997. Rolling Stone ranked his three non-posthumous studio albums, Are You Experienced (1967), Axis: Bold as Love (1967) and Electric Ladyland (1968) among the 100 greatest of all time; they ranked him the number one greatest guitarist and the sixth greatest artist.
Jimi Hendrix was of a mixed genealogy that included African American, Irish, and Cherokee ancestors. His paternal great-grandmother Zenora was a full-blooded Cherokee from Georgia who married an Irishman named Moore. In 1883, they had a daughter whom they named Zenora "Nora" Rose Moore, Hendrix's paternal grandmother. The illegitimate son of a black slave woman named Fanny and her white overseer, Jimi's paternal grandfather, Bertran Philander Ross Hendrix (born 1866), was named after his biological father, a grain merchant from Urbana, Ohio, and one of the wealthiest white men in the area at the time. On June 10, 1919, Hendrix and Moore had a son they named James Allen Ross Hendrix (died 2002); people called him Al.
In 1941, Al met Lucille Jeter (1925–1958) at a dance in Seattle; they married on March 31, 1942. Drafted into the United States Army due to World War II, Al went to war three days after their wedding. Born Johnny Allen Hendrix on November 27, 1942 in Seattle, Washington, the first of five children born to Lucille, in 1946, having been unable to consult Johnny's father Al Hendrix, serving in the US army at the time, about his son's name, they changed Johnny's name to James Marshall Hendrix, in honor of Al, and Al's late brother Leon Marshall. As a young child, friends and family called James "Buster"; his brother Leon claims that Jimi chose the nickname after his hero Buster Crabbe, of Flash Gordon and Buck Rogers fame.
Stationed in Alabama at the time of Johnny's birth, and having been denied the standard military furlough afforded servicemen for childbirth, the commanding officer placed Al in the stockade as a preventative measure against him going AWOL to Seattle to see his new son. He spent two months locked-up without trial, and while in the stockade, he received a telegram announcing his son's birth. During Al's three-year absence, Lucille struggled to raise her infant son, often neglecting him in favor of nightlife. Family members and friends mostly cared for Hendrix during this period, especially Lucille's sister, Delores Hall, and her friend Dorothy Harding. Al received an honorable discharge from the U.S. Army on September 1, 1945. Two months later, unable to find Lucille, he went to the Berkeley home of a family friend who had taken care of, and attempted to adopt Jimi, Mrs. Champ, where he met his son for the first time.
Jimi's relationship with his brother Leon (born 1948) was close but precarious; with Leon in and out of foster care, they lived with an almost constant threat of fraternal separation. In addition to Leon, Jimi had three other younger siblings, Joseph, born 1949, Kathy in 1950, and Pamela, 1951, all of whom Al and Lucille surrendered into foster care and adoption.
After his 1946 return from service, Al reunited with Lucille, but his difficulty finding steady work left the family impoverished. Both he and Lucille struggled with alcohol abuse, and they often fought while intoxicated. One day a pimp named John Page who had a history with Lucille tried to commandeer her out of a movie theater while she was with Al. Al objected and a fight ensued, spilling out into the street. Al had been an amateur boxer and stunned the pimp with a first punch, eventually winning the brawl and they never saw the pimp again. His parents' violence sometimes made Hendrix withdraw and hide in a closet in their home. The family moved frequently, staying in cheap hotels and apartments around Seattle. On occasion, family would take Hendrix to Vancouver to stay at his grandmother's and sometimes his uncle Frank's family. A shy and sensitive boy, these experiences deeply affected Hendrix. In addition to the near constant instability of Hendrix's home life as a child, in later years he confided to a girlfriend that he had once been the victim of sexual abuse by a man. Hendrix did not elaborate beyond stating that the experience scarred him and that the offender wore a uniform during the assault.
On December 17, 1951, when Hendrix was nine years old, his parents divorced; the court granted Al custody of Jimi and Leon. At thirty-three, his mother had developed cirrhosis of the liver and died on February 2, 1958 when her spleen ruptured. Instead of letting his boys attend their mother's funeral, Al Hendrix instructed them on how "men dealt with their grief", by giving them shots of whiskey. In 1967, Hendrix revealed his feelings of loss in regard to his mother's death during a survey he took for the UK publication, New Musical Express. Hendrix stated: "Personal ambition: Have my own style of music. See my mother again."
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Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-1950) he worked in Philadelphia with Bull Moose Jackson's R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953, followed by stints with Lionel Hampton (1953-1954), and Johnny Hodges and Earl Bostic (1954-1956). He came to prominence while with Dizzy Gillespie's globetrotting big band (1956-1958), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty," and "Blues March" during 1956-1960. His stay with Art Blakey's Jazz Messengers (1958-1959) was significant, and during 1959-1962 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including spending a couple of years in Europe (1964-1966). When Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas. Other than an unfortunate commercial effort for Columbia in 1977, Golson has recorded consistently rewarding albums (many for Japanese labels) since that time including a reunion with Art Farmer and Curtis Fuller in a new Jazztet. Through the years he has recorded as a leader for Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury, and Dreyfus among others. Returning once again to the spirit of the original Jazztet, Golson released New Time, New 'Tet on Concord Records in 2009. Please enjoy the link provided by Jazz on the Tube:
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Spalding has a diverse ethnic background. Her father is African American and her mother is of Welsh, Native American, and Hispanic descent. She also has an interest in the music of other cultures, including that of Brazil, commenting: "With Portuguese songs, the phrasing of the melody is intrinsically linked with the language, and it's beautiful."
Spalding's mother shares her interest in music, having nearly become a touring singer herself. But while Spalding cites her mother as a powerful influence, who encouraged her musical expansion, she attributes her inspiration for pursuing a life in music to watching classical cellist Yo-Yo Ma perform on an episode of Mister Rogers' Neighborhood when she was four.
By the time Spalding was five, she had taught herself to play the violin and was playing with the Chamber Music Society of Oregon. Spalding stayed with the group until she was fifteen and left as concertmaster. Due to a lengthy illness when she was a child, Spalding spent much of her elementary school years being homeschooled, but also attended King Elementary School in northeast Portland. During this time, she also found the opportunity to pick up instruction in music by listening to her mother's college teacher instruct her mother in guitar. According to Spalding, when she was about eight, her mother briefly studied jazz guitar in college; Spalding says: "Going with her to her class, I would sit under the piano. Then I would come home and I would be playing her stuff that her teacher had been playing". Spalding also played oboe and clarinet before discovering the bass in high school. She is able to sing in English, Spanish and Portuguese.
Spalding had begun performing live in clubs in Portland, Oregon as a teenager, securing her first gig at 15 in a blues club, when she could play only one line on bass. One of the seasoned musicians with which she played that first night invited her to join the band's rehearsals "so she could actually learn something", and her rehearsals soon grew into regular performances spanning almost a year. According to Spalding, it was a chance for her to stretch as a musician, reaching and growing beyond her experience. Her early contact with these "phenomenal resources", as she calls the musicians who played with her, fostered her sense of rhythm and helped nurture her interest in her instrument.
She does not consider herself a musical prodigy; "I am surrounded by prodigies everywhere I go, but because they are a little older than me, or not a female, or not on a major label, they are not acknowledged as such", says Spalding.
Spalding had intended to play cello, but discovered the bass during a one-year stint at age 14 at the prestigious performing arts high school, The Northwest Academy, to which she had won a scholarship. The school was not a good fit, but the bass was. Spalding found high school "easy – and boring" and dropped out. When she was 15 or 16 years old, Spalding started writing lyrics for music for the local indie rock/pop group Noise for Pretend, touching on any topic that came to mind. Although she had taken a few private voice lessons, which taught her how to project her voice, her primary singing experience had come from "singing in the shower", she said, before she started performing vocals for Noise for Pretend. Her desire to perform live evolved naturally out of the compositional process, when she would sing and play simultaneously to see how melody and voice fit together, but she acknowledges that performing both roles can be challenging. In a 2008 interview, she said, "[W]hat can be difficult is being a singer, in the sense that you are engaged with the audience, and really responsible for emoting, and getting into the lyrics, melody, etc., and being an effective bassist/band leader".
Spalding left high school at 16 and, after completing her GED, enrolled on a music scholarship in the music program at Portland State University, where she remembers being "the youngest bass player in the program". Although she lacked the training of her fellow students, she feels that her teachers nevertheless recognized her talent. She decided to instead apply to Berklee College of Music on the encouragement of her bass teacher, and did well enough in her audition to receive a full scholarship. In spite of the scholarship, Spalding found it a challenge meeting living expenses, so her friends arranged a benefit concert that paid her airfare and a little extra.
Spalding's savings did not last long. Broke and exhausted, she considered leaving music and entering political science, a move jazz guitarist and composer Pat Metheny discouraged, telling Spalding she had "the 'X Factor'" and could make it if she applied herself. During her time at Berklee, her primary bass instructor was John Lockwood.
Gary Burton, Executive Vice President at Berklee, said in 2004 that Spalding had "a great time feel, she can confidently read the most complicated compositions, and she communicates her upbeat personality in everything she plays".
Ben Ratliff wrote in The New York Times on July 9, 2006, that Spalding's voice is "light and high, up in Blossom Dearie's pitch range, and [that] she can sing quietly, almost in a daydream" and that Spalding "invents her own feminine space, a different sound from top to bottom." Spalding was the 2005 recipient of the Boston Jazz Society scholarship for outstanding musicianship. Almost immediately after graduation from college later the same year, Spalding was hired by Berklee College of Music, becoming one of the youngest instructors in the institution's history, at age 20. As a teacher, Spalding tries to help her students focus their practice through a practice journal, which can help them recognize their strengths and what they need to pursue.
Her debut album, Junjo, was released on April 18, 2006, on the Ayva Music label. It was created to display the dynamic that she felt among her trio. Though Junjo was released solely under her name, Spalding considers it "a collaborative effort".
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Nat King Cole
In the traditional pop market, Nat King Cole is best-known for major pop hits like "Mona Lisa," "Unforgettable," "Too Young," and "Walkin' My Baby Back Home." But Cole's roots were straight-ahead jazz, and before he was a pop superstar, he was a swing-oriented singer/pianist who had an improvising group that was billed as the Nat King Cole Trio. One thing that made the combo unique was the absence of a drummer; while about 98-percent of the small swing groups that were active in the ‘30s and ‘40s had full-time drummers, the Cole Trio only used piano, guitar, and acoustic bass. Whether Cole was singing or favoring an instrumental approach, that piano/guitar/bass format was unique — and if the Nat King Cole Trio did work with a drummer, he was strictly a guest.
Born Nathaniel Adams Cole Montgomery, AL on March 17, 1917 but raised in Chicago, Cole came from a very musical family — three of his brothers (Freddy, Eddie, and Isaac Cole) were also jazz musicians, and of course, his daughter Natalie Cole (b. February 6, 1950, Los Angeles, CA) became an R&B/pop superstar about ten years after his death. It was in 1936 that Cole first played piano and recorded with his siblings in a Chicago-based group that was billed as "Eddie Cole's Solid Swingers." Cole was really the group's leader, but it was named after Eddie because he was better-known in Chicago at the time. Then, in 1937, Nat King Cole (who was heavily influenced by Earl "Fatha" Hines) ended up in Los Angeles (where he spent the rest of his life) and formed the original lineup of the Nat King Cole Trio, which employed Oscar Moore (b. December 25, 1912, Austin, TX, d. October 8, 1981, Las Vegas, NV) on guitar and Wesley Prince (b. April 8, 1907) on upright bass. Moore started out on acoustic guitar, but he plugged in and took up the electric guitar after hearing the seminal Charlie Christian. Playing the Hollywood club circuit as well as the famous Central Avenue scene in South Central L.A., the Cole Trio acquired a small local following in the late ‘30s and recorded a lot of radio transcriptions. Those transcriptions were broadcast nationally on NBC Radio, and in 1939, the Cole Trio was receiving enough attention to embark on its first tour of the East Coast and the Midwest. In New York, Cole, Moore, and Prince backed singer Billie Holiday on one of her Manhattan gigs.
Commercially, the Cole Trio continued to make progress in 1940, when the group had an extended engagement at a Hollywood club called the Radio Room, backed Lionel Hampton on some 78s, and signed with Decca. That year, the Cole Trio made its first commercially available recording of "Sweet Lorraine," which featured Cole on lead vocals and became the group's first hit as well as the group's theme on radio. Amazingly, Cole was not fond of singing lead at the time — he considered himself a pianist first and foremost, and many of the Cole Trio's late-‘30s transcriptions were either instrumentals or group vocals. But when he realized that there was a demand for his lead vocals, Cole gave the people what they wanted and did more and more lead singing.
In 1941, things seemed to be moving right along for the Nat King Cole Trio. In addition to having a deal with Decca, the group was getting quite a few gigs in New York. But some historic events adversely affected the Trio and the recording industry in general. After Pearl Harbor was bombed on December 7, 1941, the United States entered World War II. That meant rationing, and one of the things that had to be rationed was shellac — which was an important ingredient of 78s. Between the rationing of shellac and the American Federation of Musicians' infamous recording ban, 1942 was a rough year for the recording industry, and Decca ended up dropping the Cole Trio. It was also in 1942 that Prince was drafted into the U.S. military, which illustrated the mind-boggling contradictions of racism — Prince, an African-American, was willing to serve his country and do his part to protect the U.S. from fascist aggressors, but was still considered a second-class citizen under the racist Jim Crow laws of the Deep South. He was good enough to fight in Germany or the Pacific, but he was still required to go to the back of the bus if he decided to use public transportation in many parts of the South.
But the blows that the Cole Trio was dealt in 1942 certainly weren't fatal. Prince was temporarily replaced by Red Callender, and the Cole Trio recorded a few 78s for the independent, L.A.-based Excelsior label. When Callender left the Trio in November 1942, he was replaced by Johnny Miller (b. 1915, d. 1988). After recording some 78s for Premier Records (another small indie label), the Cole/Moore/Miller edition of the group signed with Capitol in 1943, and it was at Capitol that the threesome enjoyed its greatest commercial success. Moore (whose brother was Johnny Moore of the Three Blazers) stayed with the group until 1947, when he was replaced by Irving Ashby (b. December 29, 1920, Somerville, MA, d. April 22, 1987, Perris, CA).
During its 1943-1949 period, the Cole Trio had its share of major hits, which included "It's Only a Paper Moon," "I Love You for Sentimental Reasons" (a number one pop hit on Billboard's pop singles chart in 1946), "I'm a Shy Guy," "Straighten Up and Fly Right," and "The Frim Fram Sauce." Another big Cole Trio hit from that period was "Gee Baby, Ain't I Good to You," which spent four week at number one in Billboard in 1944. And the Trio's famous 1946 recording of Bobby Troupe's "Route 66" not only became a number 11 pop/number three R&B hit in Billboard, it was also loved by the Rolling Stones, who covered the tune in the ‘60s. The Trio's recordings were not only commercially successful, they were also extremely influential. Oscar Peterson, Erroll Garner, Shirley Horn, Red Garland, Tommy Flanagan, Gene Harris, and Diana Krall are among the numerous artists who have been influenced by the Trio over the years.
But as commercially successful as the Cole Trio was in the ‘40s, Capitol had even bigger plans for Nat King Cole; bigger from a pop standpoint anyway. By the end of the ‘40s, Capitol was starting to envision Cole as a jazz-influenced pop singer instead of an improvising jazz singer/pianist. Capitol was doing extremely well with traditional jazz-influenced pop singers like Peggy Lee and Jo Stafford, and the company saw no reason why Cole couldn't be just as big in the pop market. There were certain ‘40s recordings that made Capitol feel that way — lavish pop recordings that he recorded apart from the Trio. One was his 1948 version of Eden Ahbez's haunting "Nature Boy," which soared to number one on Billboard's pop singles chart. Another was Cole's 1946 recording of Mel Tormé's "The Christmas Song," a number three pop hit in Billboard. Both of those smashes were jazz-influenced, but neither was jazz, and both predicted what was to come in the ‘50s and early ‘60s. From 1950 on, Cole was primarily a pop singer — he didn't abandon jazz altogether, but he did make pop his main focus. After phasing out the Nat King Cole Trio, he did little improvising and was backed by lavish pop orchestras (including arranger Nelson Riddle's band). And that is the Nat King Cole who pop fans know best: the crooner who took Billboard's pop singles chart by storm thanks to smashes like "Mona Lisa" (a number one hit in 1950), "Too Young" (a number one hit in 1951), "Unforgettable,", "Walkin' My Baby Back Home," and "Pretend." In the ‘50s, Cole was so famous for his pop singing that many pop fans didn't know he played piano. But jazz fans knew, and many of them criticized him for placing jazz on the back burner. However, Cole revisited straight-ahead jazz with his After Midnight album of 1956. Capitol has reissued the After Midnight sessions on CD, and the After Midnight sessions are also heard in their entirety on Mosaic's 18-CD box set The Complete Capitol Trio Recordings (which spans 1942-1961 and takes an exhaustive look at Cole's more jazz-oriented work).
In the early ‘60s, jazz fans kept dreaming of the Cole Trio being reunited on a full-time basis — a hope that was every bit as unrealistic as going to a Miles Davis concert in the ‘70s or ‘80s and expecting the ever-evolving trumpeter to open with "My Funny Valentine." Traditional pop, not jazz, remained Cole's primary focus, who was only 47 when he died of lung cancer in Santa Monica, CA on February 15, 1965. Please enjoy the link provided by PhatSak1: http://www.youtube.com/watch?feature=player_detailpage&v=J1glriB54oE
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(born April 29, 1899, Washington, D.C., U.S.—died May 24, 1974, New York, N.Y.) American pianist who was the greatest jazz composer and bandleader. One of the originators of big-band jazz, Ellington led his band for more than half a century, composed thousands of scores, and created one of the most distinctive ensemble sounds in all of Western music.
Ellington grew up in a secure middle-class family in Washington, D.C. His family encouraged his interests in the fine arts, and he began studying piano at age seven. He became engrossed in studying art during his high-school years, and he was awarded, but did not accept, a scholarship to the Pratt Institute, Brooklyn, New York. Inspired by ragtime performers, he began to perform professionally at age 17.
Ellington first played in New York City in 1923. Later that year he moved there and, in Broadway nightclubs, led a sextet that grew in time into a 10-piece ensemble. The singular blues-based melodies; the harsh, vocalized sounds of his trumpeter, Bubber Miley (who used a plunger [“wa-wa”] mute); and the sonorities of the distinctive trombonist Joe (“Tricky Sam”) Nanton (who played muted “growl” sounds) all influenced Ellington's early “jungle style,” as seen in such masterpieces as “East St. Louis Toodle-oo” (1926) and “Black and Tan Fantasy” (1927).
Extended residencies at the Cotton Club in Harlem (1927–32, 1937–38) stimulated Ellington to enlarge his band to 14 musicians and to expand his compositional scope. He selected his musicians for their expressive individuality, and several members of his ensemble—including trumpeter Cootie Williams (who replaced Miley), cornetist Rex Stewart, trombonist Lawrence Brown, baritone saxophonist Harry Carney, alto saxophonist Johnny Hodges, and clarinetist Barney Bigard—were themselves important jazz artists. (The most popular of these was Hodges, who rendered ballads with a full, creamy tone and long portamentos.) With these exceptional musicians, who remained with him throughout the 1930s, Ellington made hundreds of recordings, appeared in films and on radio, and toured Europe in 1933 and 1939.
The expertise of this ensemble allowed Ellington to break away from the conventions of band-section scoring. Instead, he used new harmonies to blend his musicians' individual sounds and emphasized congruent sections and a supple ensemble that featured Carney's full bass-clef sound. He illuminated subtle moods with ingenious combinations of instruments; among the most famous examples is “Mood Indigo” in his 1930 setting for muted trumpet, unmuted trombone, and low-register clarinet. (Click here for a video clip of Duke Ellington and his band playing “Mood Indigo.”) In 1931 Ellington began to create extended works, including such pieces as Creole Rhapsody, Reminiscing in Tempo, and Diminuendo in Blue/Crescendo in Blue. He composed a series of works to highlight the special talents of his soloists. Williams, for example, demonstrated his versatility in Ellington's noted miniature concertos “Echoes of Harlem” and “Concerto for Cootie.” Some of Ellington's numbers—notably “Caravan” and “Perdido” by trombonist Juan Tizol—were cowritten or entirely composed by sidemen. Few of Ellington's soloists, despite their importance to jazz history, played as effectively in other contexts; no one else, it seemed, could match the inspiration that Ellington provided with his sensitive, masterful settings.
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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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Does a day ever go by when there isn't a drama caused by this household?
Kylie Jenner is facing backlash today after posting a rather revealing picture of herself on Instagram, taken at the Kardashian's Christmas card 2013 shoot.
The snap, which shows 16-year-old Kylie in a breasty white frock, sparked hundreds of comments from weirdos, which in turn sparked the old 'she's too young for that!' backlash.
While one user asked when she'll be 'legal', another hit back at the Kardashians and told them to reign in the teenage nudity.
The family have totally ignored the comments - as always - and instead uploaded several snaps from the festive beachfront shoot.
Kylie eventually changed into a more modest ensemble, stepping out on a pale pink fairytale frock while Khloe, Kris and Kendall were all sporting vintage designer ballgowns.
And while Kim Kardashian was no where to be seen in the snaps (is she ever?), Khloe did upload a sneaky video of her sister chowing down on snacks between breaks.
Kim can be seen lounging in a chair before telling Khloe to 'f**k off' when she notices herself being filmed.
Just last month, Kylie and Kendall were accused of partying with 'fake IDs', while Kylie was said to have kicked off like a frog in a sock when she was refused alcohol, pulling the old 'do you even know who I am?!' card.
But the pair denied the claims, taking to Twitter to hit back at the rumours.
Kendall tweeted: "I am so done with everyone making my little sister and I out to be something that we are not. No one has fake ID's and no one's partying."
Kylie added: "I'm not going to sit around and let grown adults create untrue stories about me underage drinking & partying every night with a fake ID...
"And FYI regarding the 'club nights,' I was with my father & family supporting my brother and sister-in-law. [sic]"
By Nikki | the juice
Kylie Jenner sparked backlash after posting this revealing picture of herself on Instagram. Copyright [Instagr
Kylie later changed into a fairytale frock with her sister Kendall for the rest of the day. Copyright [Instagr …
Kylie Jenner and Khloe Kardashian both looked stunning at the beachfront shoot. Copyright [Instagram]
Kendall Jenner looked stunning in a vintage Alexander McQueen dress. Copyright [Instagram]
Kris Jenner shared this snap of herself lookinh stunning in a maroon dress at the Kardashian Christmas card shoot. …
We’ve been wondering when he would get down on one knee.
And now it would seem that Kanye West has done just that after proposing to Kim Kardashian on her 33rd birthday.
That’s one heck of a gift.
E! News reports that the 36-year-old rapper rented out the AT&T Park stadium in San Francisco as the venue for his romantic gesture.
He then proposed to Kim in front of her family and friends.
It was speculated earlier this week that Kanye had been planning on asking for Kim’s hand in marriage.
A source told the site: "Kim turns 33 today. Kanye had planned to propose for her birthday.
"He chose the ring from exclusive jewellers Boucheron on a recent trip to Paris.
“But everything else is top secret."
2013 looks to be a very happy year for the pair, with the two welcoming their first child North together three months ago.
Kanye will be kicking off his ‘Yeezus’ tour tonight with Kim expected to attend.
And it would seem that her initial plans for a huge birthday celebration in Las Vegas could be turning into a different sort of party.
The source continued: "On the Friday when Kanye performs in Las Vegas, Kim has a birthday celebration planned at Tao nightclub.
"Now it's beginning to look like it could also be an engagement party.”
Congratulations to the happy couple!
By Chris | the bike shed
Kim Kardashian shows off her engagment ring after Kanye West proposed last night. Copyright [Instagram]
Kanye West has reportedly proposed to Kim Kardashian. Copyright [Rex]
Kanye West allegedly got down on one knee in front of Kim Kardashian's family and friends . Copyright [Splash]
Kim Kardashian and Kanye West welcomed daughter North West earlier this year. Copyright [Wenn]
He's been keeping a seriously low profile in recent weeks and has had a prolonged Twitter silence.
But now Lamar Odom has finally spoken out to condemn his father Joe who recently criticised the Kardashian family for hurting his son.
The NBA star has released a statement on Twitter attacking his dad and admitting that the only person to blame for the breakdown of his marriage to Khloe Kardashian is himself.
On Tuesday night, her wrote: ''Won't continue 2 speak on this but I have got 2 let this out real quick. I have let this man and many others get away with a lot of s**t. He wasn't there 2 raise me. He was absent ALL of my life due to his own demons.''
Lamar went on to allude to his own alleged drugs problems, saying that they are the only thing that his former drug-addict dad passed on to him.
He said: ''How can a man who has NOT once called me to check on my well being have the nerve to talk so recklessly about his own "son". He is my downfall! His own demons may be the ONLY thing he gave 2 me.''
Clearly upset at how Joe told the press that he should divorce Khloe, Lamar went on to say that the Kardashians were his family.
He wrote: ''He disrespecting the ONLY FAMILY that has loved me without expecting anything in return. They are the ONLY ones that have been here consistently 4 me during this dark time.''
Then the disgraced sportsman made the admission that his split from Khloe was down to himself, saying:
''Only person 2 blame is myself. Say what you want about me but leave the ones who have done nothing but protect and love me out of this! This goes to out to everyone!''
Joe opened up to Heat magazine earlier in the week, saying: ''They brought him down. He would be better off without them. I think the best thing for him would be to have a clean break and divorce Khloé.''
Lamar moved out of the house he shared with wife Khloe last months after reports of multiple infidelities and alleged drug abuse.
By Julia | the juice –
Lamar Odom has broken his Twitter silence to attack his dad Joe and admit that he only has himself to blame. Copyright …
Lamar Odom released a lengthy statement about his father and the Kardashians. Copyright [Twitter]
Khloe Kardashian headed out for dinner wearing her wedding ring on Monday. Copyright [Splash]
Lamar's dad Joe claimed that the Kardashians has destroyed his son.
He’s been eying up a post-pop career since his band announced they were splitting earlier this year.
And now Marvin Humes has landed himself his first high profile job, taking over Reggie Yates as Emma Willis’ co-host on series three of The Voice UK.
According to The Sun, the JLS star, who rose to fame after coming second on The X Factor in 2008, is said to be anxious but looking forward to his new presenting role.
A source told the paper: "Marvin is nervous but excited.
He's got a few months to brush up on his presenting skills before the live shows, but he'll go straight into the recorded rounds very soon.
“Bosses reckon he and Emma will have great chemistry."
Bosses think new host Emma Willis will have great chemistry with Marvin Humes when the Voice UK returns next year. …
We wonder what Simon Cowell will make of one of the X Factor’s most successful artists jumping ship?
Emma Willis was announced as the main host for the show over the weekend, taking over from Holly Willoughby who fronted the program for two years.
Announcing her departure, Holly wrote: "After much consideration, I will not be returning for series three of 'The Voice' UK.
“I've had two wonderful years on the show, and I feel very privileged to have been a part of it.
"Finding the right balance between my work and family life is my priority and this has contributed to my decision. I look forward to watching the next series from my sofa, and I wish the whole team the best of luck".
By Chris | the juice
Marvin Humes has replaced Reggie Yates on The Voice UK. Copyright [Rex]
This is Marvin Humes' first big job since JLS announced their split earlier this year. Copyright [PA]
Holly Willoughby announced her departure from The Voice UK this weekend. Copyright [AP]
They say that blondes have more fun.
So we would assume that Kim Kardashian is having a whale of a time after dying her usually dark hair quite a few shades lighter as part of her post-pregnancy makeover.
The 32-year-old star, who has been mostly away from the limelight since giving birth to baby North West, has taken the plunge and dyed her hair a honey blonde colour.
Kim’s colourist George Papanikolas spilled the beans on Kim’s bold new look to E! Online.
He said: "It's something she's wanted to do for a long time. I've been coloring her hair for a year, and she's wanted to go blonder since the day we met.”
And apparently, boyfriend Kanye West loves her new look.
"He [Kanye] loves it! He was a big cheerleader for her to go blonde. She was so excited. She loved it! It was scary for me!"
So why was it scary? Probably because it sounds like the entire Kardashian clan were watching on as George worked his magic on the reality star.
He revealed: "The whole family was watching. Then, everyone wanted to go blonder!”
This isn’t the first time Kim has dabbled with lighter hair, with the star experimenting in recent years along with donning a peroxide blonde wig too.
It was reported earlier this week that Kim is determined to get back into shape before returning to the limelight after giving birth in June.
According to Now magazine, Kim is hoping to enlist the help of a hypnoband in a bid to lose a staggering four stone.
A source told the mag: "The therapist puts Kim in a semi-trance and then keeps repeating to her how she needs to eat healthily and work out. He shows her photos of herself looking super-slim."
The source continued: "Kim's then hypnotised into thinking she has a gastric band and can only eat so much. Kim's always had a sweet tooth, but so far the hypnotherapy definitely seems to be working."
Kim Kardashian has dyed her hair a similar colour to this. Copyright [Instagram]
Kim Kardashian previously donned a blonde wig. Copyright [Splash]
Kim Kardashian has apparently got a hypnoband to lose four stone of baby weight. Copyright [Splash]