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
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Cabell "Cab" Calloway III (December 25, 1907 – November 18, 1994) was an American jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, where he was a regular performer.
Calloway was a master of energetic scat singing and led one of the United States' most popular big bands from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Adolphus "Doc" Cheatham, saxophonists Ben Webster and Leon "Chu" Berry, New Orleans guitar ace Danny Barker, and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86.
Calloway was born in Rochester, New York, on Christmas Day in 1907. The family relocated to Baltimore, Maryland. His mother, Martha Eulalia Reed, was a Morgan State College graduate, teacher and church organist. His father, Cabell Calloway, Jr., was a graduate of Lincoln University of Pennsylvania in 1898 and worked as a lawyer and in real estate.
Cab Calloway spent his adolescent years growing up in West Baltimore's Sugar Hill, considered the political, cultural, and business hub of black society. There he grew up comfortably in a middle-class household. Early on, his parents recognized their son's musical talent and he began private voice lessons in 1922. He continued to study music and voice throughout his formal schooling. Despite his parents' and teachers' disapproval of jazz, Calloway began frequenting and performing in many of Baltimore's nightclubs. As a result he came into contact with many of the local jazz luminaries of the time. He counted among his early mentors drummer Chick Webb and pianist Johnny Jones.
After his graduation from Frederick Douglass High School, Calloway joined his older sister, Blanche, in a touring production of the popular black musical revue, Plantation Days. (Blanche Calloway became an accomplished bandleader before her brother did, and he would often credit her as his inspiration for entering show business.) His parents had hopes of their son becoming an attorney following after his father, so Calloway enrolled at Crane College in Chicago. His main interest, however, was in singing and entertaining, and he spent most of his nights at Chicago's Dreamland Ballroom, the Sunset Cafe, and the Club Berlin, performing as a drummer, singer, and MC. At the Sunset Café, Cab cut his teeth as an understudy for singer Adelaide Hall and it was here that he met and performed with Louis Armstrong who taught him to sing in the "scat" style. He eventually left school to sing with a band called the Alabamians.
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Joe Pass (born Joseph Anthony Jacobi Passalacqua, January 13, 1929 – May 23, 1994) was an American virtuoso jazz guitarist of Sicilian descent. He is generally considered to be one of the greatest jazz guitarists of the 20th century. His extensive use of walking basslines, melodic counterpoint during improvisation, use of a chord-melody style of playing and outstanding knowledge of chord inversions and progressions opened up new possibilities for the jazz guitar and had a profound influence on later guitarists.
Born in New Brunswick, New Jersey, Joe Pass, the son of Mariano Passalacqua, a Sicilian-born steel mill worker, was raised in Johnstown, Pennsylvania. He received his first guitar, a Harmony model bought for $17, on his 9th birthday. Pass' father recognized early that his son had "a little something happening" and pushed him constantly to pick up tunes by ear, play pieces not written specifically for the instrument, practice scales and not to "leave any spaces" - that is, to fill in the sonic space between the notes of the melody.
As early as 14, Pass started getting gigs and was playing with bands fronted by Tony Pastor and Charlie Barnet, honing his guitar skills and learning the music business. He began traveling with small jazz groups and eventually moved from Pennsylvania to New York City. In a few years, he developed a heroin addiction and spent much of the 1950s in prison. Pass managed to emerge from narcotics addiction through a two-and-a-half-year stay in the Synanon rehabilitation program. During that time he "didn't do a lot of playing". In 1962 he recorded Sounds of Synanon. It was about this time that Pass received his trademark Gibson ES-175 guitar as a gift, which he subsequently used for touring and recording for many years.
Pass recorded a series of albums during the 1960s for the Pacific Jazz label, including the early classics Catch Me, 12-String Guitar, For Django, and Simplicity. In 1963, Pass received Downbeat magazine's "New Star Award." Pass was also featured on Pacific Jazz recordings by Gerald Wilson, Bud Shank, and Les McCann. Pass toured with George Shearing in 1965. During the 1960s however, he did mostly TV and recording session work in Los Angeles.
He was a sideman with Louis Bellson, Frank Sinatra, Sarah Vaughan, Joe Williams, Della Reese, Johnny Mathis, and worked on TV shows including The Tonight Show Starring Johnny Carson, The Merv Griffin Show, The Steve Allen Show, and others. In the early 1970s, Pass and guitarist Herb Ellis were performing together regularly at Donte's jazz club in Los Angeles. This collaboration led to Pass and Ellis recording the very first album on the new Concord Jazz label, entitled simply Jazz/Concord (#CJS-1), along with bassist Ray Brown and drummer Jake Hanna. In the early 1970s, Pass also collaborated on a series of music books, and his Joe Pass Guitar Style (written with Bill Thrasher) is considered a leading improvisation textbook for students of jazz.
Norman Granz, the producer of Jazz at the Philharmonic and the founder of Verve Records signed Pass to Granz's new Pablo Records label in 1970. In 1974, Pass released his landmark solo album Virtuoso on Pablo Records. Also in 1974, Pablo Records released the album The Trio featuring Pass, Oscar Peterson, and Niels-Henning Ørsted Pedersen. He performed with them on many occasions throughout the 1970s and 1980s. At the Grammy Awards of 1975, The Trio won the Grammy Award for Best Jazz Performance by a Group. As part of the Pablo Records "stable," Pass also recorded with Benny Carter, Milt Jackson, Herb Ellis, Zoot Sims, Duke Ellington, Dizzy Gillespie, Ella Fitzgerald, Count Basie, and others.
Pass and Ella Fitzgerald recorded six albums together on Pablo Records, toward the end of Fitzgerald's career: Take Love Easy (1973), Fitzgerald and Pass... Again (1976), "Hamburg Duets - 1976" (1976), "Sophisticated Lady" (1975, 1983), Speak Love (1983), and Easy Living (1986).
In 1994, Joe Pass died from liver cancer in Los Angeles, California at the age of 65. Prior to his death, he had recorded an album of instrumental versions of Hank Williams songs with country guitarist Roy Clark.
Speaking about Nuages: Live at Yoshi's, Volume 2, Jim Ferguson wrote:
The follow up to 1993's Joe Pass & Co. Live At Yoshi's, this release was colored by sad circumstances: both bassist Monty Budwig and Pass were stricken with fatal illnesses. Nevertheless, all concerned, including drummer Colin Bailey and second guitarist John Pisano, play up to their usual high levels.... Issued posthumously, this material is hardly sub-standard. Bristling with energy throughout, it helps document the final stages in the career of a player who, arguably, was the greatest mainstream guitarist since Wes Montgomery.
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Take 6 is an American a cappella gospel music sextet formed in 1980 on the campus of Oakwood College in Huntsville, Alabama. The group sings contemporary R&B style, integrating jazz influences with spiritual or inspirational lyrics. They have ten Grammy wins, as well as ten Dove Award, one Soul Train Award and two NAACP Image Award nominations. They have won Grammy Awards in 1988, 1989, 1990, 1991, 1994, 1997, and 2002, and have collaborated with other artists such as Ray Charles, Gordon Goodwin, Don Henley, Whitney Houston, Al Jarreau, Quincy Jones, k.d. lang, Queen Latifah, Brian McKnight, Luis Miguel, Marcus Miller, Joe Sample, Ben Tankard, CeCe Winans, and Stevie Wonder.
The group was signed to Warner Brothers in 1987, and quickly changed its name to Take 6 after a name search revealed Alliance was in use. Their eponymous debut album, released in 1988, won them two Grammy Awards and resulted in top ten appearances on both the Billboard Contemporary Jazz and Contemporary Christian Charts. Their swinging, harmony-rich sound attracted much attention; the group went on to record or appear with a number of luminaries, including Quincy Jones, Ella Fitzgerald, and Stevie Wonder, to name a few. They recorded for the soundtracks of Dick Tracy, Spike Lee's Do the Right Thing, Boyz n the Hood, and the theme song to the TV series Martin. They earned performances on Saturday Night Live, the Oscars, and the Grammys, and have had the honor of performing for four U.S. sitting Presidents, including the Democratic National Convention.
The group regularly featured on the 1990 Victor Lewis-Smith show on the BBC's Radio 1.
In 1991, after the release of their second album, So Much 2 Say, Mervyn Warren left the group to pursue a career as a producer. Joey Kibble, Mark's younger brother, was invited to round out the vocal lineup. The group added instrumentation to their purely a cappella sound beginning with the record, He Is Christmas. Join The Band and Brothers continued their Grammy streak. Take 6's 1998 release, So Cool, brought the group back to its a cappella origins.
In 2006 the group launched Take 6 Records; Feels Good the first album on their new label, was released the same year.
In 2007, they recorded a duet with Eros Ramazzotti in his CD e² ("Eros al quadrato") singing backing vocals to the song "Un attimo di pace". In 2008, Take 6 released The Standard, which was a first time voyage for the group into a more traditional Jazz repertoire. The Standard, a critically hailed success, garnered three more Grammy nominations providing them the distinct honor of being the most Grammy nominated vocal group in history.
The group's home-base is Nashville, Tennessee, with two members residing in Los Angeles. All original members grew up Seventh-day Adventist.
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Guitarist Russ Freeman originally conceived of the Rippingtons as a changing lineup of strong contemporary jazz musicians. After releasing his debut solo album, Nocturnal Playground, in 1985, Freeman assembled the first version of the band, which featured David Benoit on piano and Brandon Fields, Dave Koz, and Kenny G on saxophones, for the appropriately titled Moonlighting (1986). Kilimanjaro, the first Rippingtons album to break into the pop charts, followed in 1988. As of 1989's Tourist in Paradise, the group was contracted to the GRP label. 1990's Welcome to the St. James Club and 1991's Curves Ahead both topped the contemporary jazz best-seller charts, and 1992's Weekend in Monaco was also a popular release. By 1993, the Rippingtons had solidified into a steady six-piece group including Freeman, Dave Kochanski on keyboards, Jeff Kashiwa on saxophone, Kim Stone on bass, Tony Morales on drums, and Steve Reid on percussion. That year saw the release of Live in L.A. In 1994, Freeman teamed with old partner David Benoit for The Benoit/Freeman Project and later in the year came Sahara, which altered the band's billing from "The Rippingtons Featuring Russ Freeman" to "Russ Freeman & The Rippingtons." In 1995, Freeman released a solo Christmas album, Holiday, followed by the eighth Rippingtons album, Brave New World, in 1995.
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The group was inspired by trumpeter Donald Byrd and featured some of his Howard University students: Kevin Toney (keyboards), Keith Killgo (vocals, drums), Joe Hall (bass guitar), Allan C. Barnes (saxophone, clarinet), and Barney Perry (guitar). Orville Saunders (guitar), and Jay Jones (flute, saxophone) joined later. They signed to Fantasy Records in 1973 and are best known for their 1975 hit "Walking in Rhythm", which received a Grammy nomination, sold over one million copies by May 1975, and was awarded a gold disc.
More recently, they have made a significant impact on the hip-hop generation with Gang Starr, Da Lench Mobb, and Full Force sampling their music. In particular, their 1975 song "Rock Creek Park" from the City Life album has been sampled numerous times by groups and artists such as MF DOOM, De La Soul, Eric B. & Rakim, Big Daddy Kane, N.W.A, Massive Attack, Ice Cube, Heavy D, Nas and Grandmaster Flash & the Furious Five, Tone Loc and Wiz Khalifa.
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David Benoit (born August 18, 1953) is an American jazz pianist, composer and producer from Los Angeles, California. Benoit has charted over 25 albums since 1980, and has been nominated for three Grammy Awards.] He is also music director for the Asia America Symphony Orchestra and the Asia America Youth Orchestra.
Benoit studied piano at age 13 with Marya Cressy Wright and continued his training with Abraham Fraser, who was the pianist for Arturo Toscanini. He focused on theory and composition at El Camino College, studying orchestration with Donald Nelligan, and later took film scoring classes taught by Donald Ray at UCLA. His education in music conducting began with Heiichiro Ohyama, assistant conductor of the L.A. Philharmonic, and continued with Jan Robertson, head of the conducting department at UCLA. Most recently he worked with Jeffrey Schindler, Music Director for the UC Santa Barbara symphony orchestra.
His GRP Records debut album, Freedom At Midnight (1987), made it to number 5 on Billboard's Top Contemporary Jazz Albums chart. Benoit also says that it was his favorite album to produce, because it was when "everything came together," as he stated in an interview on SmoothViews.com. An earlier "live in the studio" (direct record, no mixing or overdubs) album on Spindletop Records, This Side Up (previously 1986), was subsequently re-released on the GRP label.
Many of his songs employ a string section, most notably on his American Landscape (1997) and Orchestral Stories (2005) albums. He has said that it is his dream to release a symphonic album.
In 2000, after the death of Peanuts creator Charles M. Schulz, he released a memorial album entitled Here's To You, Charlie Brown: 50 Great Years. Collaborators included the chorus group Take 6, guitarist Marc Antoine and trumpeter Chris Botti. He also did the music for "Peanuts" in the later specials. The album made it to number 2 on the Top Jazz Albums chart.
Benoit has performed at The White House for three U.S. Presidents: Bill Clinton, Ronald Reagan and George Bush, Sr. Other dignitaries he performed for include Colin Powell, Hillary Clinton, Al Gore, the late Los Angeles Mayor Tom Bradley, former Los Angeles Mayor James Hahn and Senator Dick Durbin.
Benoit has arranged, conducted and performed music for many popular pop and jazz artists over the years, including Russ Freeman and the Rippingtons (he was involved with the band in its formative stages, and they often appeared on each other's albums), Kenny Loggins, Patti Austin, Dave Koz, Kenny Rankin, Faith Hill, David Lanz, Cece Winans, David Pack, David Sanborn, The Walt Disney Company and Brian McKnight. He also paid homage to one of his chief influences, Leonard Bernstein, by playing, arranging and performing on The Songs of West Side Story, an all-star project produced by David Pack, which achieved gold sales status. Benoit contributed to the Rippingtons' debut album entitled Moonlighting, named by Jazziz magazine as the most influential contemporary jazz album of all time. They also released collaborative efforts The Benoit/Freeman Project and The Benoit/Freeman Project 2.
The Benoit/Freeman Project album was given 41⁄2 stars by Allmusic, the highest rating Benoit has received from the service, and the album made it to number 2 on the Top Contemporary Jazz Albums chart from Billboard.
His music can be heard during The Weather Channel's "Local on the 8s" segments and his version of Vince Guaraldi's "Cast Your Fate to the Wind" is included in their 2008 compilation release, The Weather Channel Presents: Smooth Jazz II. In May 2011, Benoit began hosting a morning program at jazz radio station KKJZ in Long Beach, California.
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Caldera was an American band, that combined jazz, funk and rock with a wide variety of Latin music. 1970s fusion explorers like Return to Forever and Weather Report influenced Caldera, but its members were also influenced by everything from Earth, Wind & Fire's soul/funk to Afro-Cuban salsa, Brazilian samba and Andean/Peruvian music.
Members of Caldera, which was led by keyboardist Eduardo del Barrio and guitarist Jorge Strunz (Strunz & Farah), came from all over Latin America as well as parts of the United States. While bass player Dean Cortez and saxophonist Steve Tavaglione were US born, other members were born in Costa Rica (Strunz), Argentina (del Barrio), Cuba (drummer Carlos Vega) and Brazil (percussionist Mike "Baiano" Azevedo). In 1976, Caldera signed with Capitol and recorded its self-titled debut album, which was followed by Sky Islands in 1977, Time and Chance in 1978, and Dreamer in 1979. The four albums (only the first of which have been reissued on CD) did not sell, and the band called it quits in 1979.
However, most of Caldera's members kept busy long after its breakup. Strunz went on to form the guitar duo Strunz & Farah with Iranian/Persian guitarist Ardeshir Farah, while del Barrio worked with artists such as Earth, Wind & Fire, Stan Getz and Dianne Reeves throughout the 1980s and 1990s. Percussionist Alex Acuña has become one of the most sought-after percussionists in jazz.
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Frederick Dewayne "Freddie" Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He was known primarily for playing in the bebop, hard bop and post-bop styles from the early 1960s and on. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop.
Hubbard started playing the mellophone and trumpet in his school band at Arsenal Technical High School in Indianapolis, Indiana. Trumpeter Lee Katzman, former sideman with Stan Kenton, recommended that he begin studying at the Arthur Jordan Conservatory of Music (now the Jordan College of the Arts at Butler University) with Max Woodbury, the principal trumpeter of the Indianapolis Symphony Orchestra. In his teens Hubbard worked locally with brothers Wes and Monk Montgomery and worked with bassist Larry Ridley and saxophonist James Spaulding. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis.
Then in May 1961, Hubbard played on Olé Coltrane, John Coltrane's final recording session with Atlantic Records. Together with Eric Dolphy, Hubbard was the only session musician who appeared on both Olé and Africa/Brass, Coltrane's first album with ABC/Impulse! Later, in August 1961, Hubbard made one of his most famous records, Ready for Freddie, which was also his first collaboration with saxophonist Wayne Shorter. Hubbard joined Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz Messengers. He played on several Blakey recordings, including Caravan, Ugetsu, Mosaic, and Free For All. Hubbard remained with Blakey until 1966, leaving to form the first of several small groups of his own, which featured, among others, pianist Kenny Barron and drummer Louis Hayes.
It was during this time that he began to develop his own sound, distancing himself from the early influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.
Throughout the 1960s Hubbard played as a sideman on some of the most important albums from that era, including Oliver Nelson's The Blues and the Abstract Truth, Eric Dolphy's Out to Lunch, Herbie Hancock's Maiden Voyage, and Wayne Shorter's Speak No Evil. He recorded extensively for Blue Note Records in the 1960s: eight albums as a bandleader, and twenty-eight as a sideman. Hubbard was described as "the most brilliant trumpeter of a generation of musicians who stand with one foot in 'tonal' jazz and the other in the atonal camp". Though he never fully embraced the free jazz of the 1960s, he appeared on two of its landmark albums: Coleman's Free Jazz and Coltrane's Ascension, as well as on Sonny Rollins' 1966 "New Thing" track "East Broadway Run Down" with Elvin Jones and Jimmy Garrison.
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Herbert Jeffrey "Herbie" Hancock (born April 12, 1940) is an American pianist, keyboardist, bandleader and composer. Starting his career with jazz legend Donald Byrd, he shortly thereafter joined the Miles Davis Quintet where Hancock helped to redefine the role of a jazz rhythm section and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace synthesizers and funk music (characterized by syncopated drum beats). Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel.
Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award, after Getz/Gilberto in 1965.
Hancock practices Nichiren Buddhism and is a member of the Buddhist association Sōka Gakkai International. As part of Hancock's spiritual practice, he recites the Buddhist chant Nam Myoho Renge Kyo each day. In 2013, Hancock's dialogue with Wayne Shorter and Daisaku Ikeda on jazz, Buddhism and life was published in Japanese.
On July 22, 2011, at a ceremony in Paris, Hancock was named UNESCO Goodwill Ambassador for the promotion of Intercultural Dialogue. In 2013 Hancock joined the University of California, Los Angeles faculty as a professor in the UCLA music department where he will teach jazz music.
Hancock is the 2014 Charles Eliot Norton Professor of Poetry at Harvard University. Holders of the chair deliver a series of six lectures on poetry, "The Norton Lectures", poetry being "interpreted in the broadest sense, including all poetic expression in language, music, or fine arts." Previous Norton lecturers include musicians Leonard Bernstein, Igor Stravinsky and John Cage. Hancock's theme is "The Ethics of Jazz."
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Grover Washington, Jr.
Grover Washington, Jr. (December 12, 1943 – December 17, 1999) was an American jazz-funk / soul-jazz saxophonist. Along with George Benson, John Klemmer, David Sanborn, Bob James, Chuck Mangione, Herb Alpert, and Spyro Gyra, he is considered by many to be one of the founders of the smooth jazz genre. He wrote some of his material and later became an arranger and producer.
Throughout the 1970s and 1980s, Washington made some of the genre's most memorable hits, including "Mister Magic," "Reed Seed," "Black Frost," "Winelight," "Inner City Blues" and "The Best is Yet to Come". In addition, he performed very frequently with other artists, including Bill Withers on "Just the Two of Us" (still in regular rotation on radio today), Patti LaBelle on "The Best Is Yet to Come" and Phyllis Hyman on "A Sacred Kind of Love". He is also remembered for his take on the Dave Brubeck classic "Take Five", and for his 1996 version of "Soulful Strut".
Washington had a preference for black nickel-plated saxophones made by Julius Keilwerth. These included a SX90R alto and SX90R tenor. He also played Selmer Mark VI alto in the early years. His main soprano was a black nickel plated H.Couf Superba II (also built by Keilwerth for Herbert Couf) and a Keilwerth SX90 in the last years of his life.
While his first three albums established him as a force in jazz and soul music, it was his fourth album in 1974, Mister Magic, that proved a major commercial success. The album climbed to number 10 in Billboard's Top 40 album chart and the title track reached No. 16 on the R&B singles chart (#54, pop). All these albums included guitarist Eric Gale as a near-permanent member in Washington's arsenal. His follow-up on Kudu in 1975, Feels So Good also made No. 10 on the album chart.
A string of acclaimed records brought Washington through the 1970s, culminating in the signature piece for everything he would do from then on. Winelight (1980) was the album that defined everything Washington was then about, having signed for Elektra Records, part of the major Warner Music group. The album was smooth, fused with R&B and easy listening feel. Washington's love of basketball, especially the Philadelphia 76ers, led him to dedicate the second track, "Let It Flow", to Julius Erving (Dr. J). The highlight of the album was his collaboration with soul artist Bill Withers, "Just the Two of Us," a huge hit on radio during the spring and summer of 1981, peaking at No. 2 on the Hot 100. The album went platinum in 1981, and also won Grammy Awards in 1982 for Best R&B Song ("Just The Two of Us"), and Best Jazz Fusion Performance ("Winelight"). "Winelight" was also nominated for Record of the Year and Song of the Year.
In the post-Winelight era, Washington is credited for giving rise to a new batch of talent that would make its mark in the late 1980s and early 1990s. He is known for bringing Kenny G to the forefront, as well as artists such as Walter Beasley, Steve Cole, Pamela Williams, Najee, and George Howard. His song "Mr. Magic" is noted as being influential on Go-go music starting in the mid-1970s.
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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] YesImSlick 9179X
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Welcome to the Slick & Jasper Show.
This Tape was created thanks to Jasper, Scottymuzik, Dj Prepaid The Visionary Collective, BNJM, Oshi and the support of a lot of my families by blood and…
[MIXTAPE] YesImSlick 9179X
Hosted By: DJ PREPAID
Welcome to the Slick & Jasper Show.
This Tape was created thanks to Jasper, Scottymuzik, Dj Prepaid The Visionary Collective, BNJM, Oshi and the support of a lot of my families by blood and…
[MIXTAPE] Giorasta On the Grind
new haven rap street music what happens around me. how i feel i rap about what i want how i want. Badjugment the team is back on the grind always working. hustle hard.…Continue