Category Archives: Classical

Have You Met Miss Jones? - Joe Pass - Virtuoso (CD, Album)

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Metadata coordinators MCshelp and advise Book Coordinators, and take over the files with the completed recordings soloists are also Book Coordinators in this sense, as they prepare their own files for the Meta coordinators. In Nash toured with legendary saxophonist Sonny Rollins.

From toLewis was a member of the Tommy Flanagan Trio, and is featured on seven CD recordings with the late piano master. Currently, while he continues to perform and record with a wide variety of artists, Nash leads several of his own exciting groups, from duo to septet.

Jazz pianist and composer Billy Childs is one of the most diversely prolific and acclaimed artists working in music today. He graduated from USC in with a degree in composition. He credits classical composers such as Paul Hindemith, Maurice Ravel, and Igor Stravinsky for also influencing his love of composition. Originally from the small town of Chilliwack, British Columbia and a bandleader since her teens, Bria has performed festivals and stages the world over.

In Lincoln Center sought out her leadership for a tribute to the first integrated all female big band, the International Sweethearts of Rhythm, which launched her acclaimed group Sisterhood of Swing. She tours constantly bringing her own signature sound of fiery trumpet playing and smoky vocals together with storytelling and adventurous concoctions of classic and new.

Besides the trumpet, this multi-instrumentalist also plays piano, all the brass, saxophones, and double bass. King and Wynton Marsalis to name a few. In James composed and performed the opening fanfare for the Olympic Games in Sydney.

James spends much time in education, doing master classes and workshops all over the world and presenting the James Morrison Jazz Scholarship at Generations in Jazz. Stafford is recognized as an incredibly gifted and versatile player, he combines a deep love of melody with his own brand of spirited and adventurous lyricism. Stafford is renowned in the jazz world as an educator, performer and leader and has received countless award nominations and accolades.

Born in Newcastle, Australia, Nicki Parrott started her musical training at age four with the piano, followed by the flute, and switched to double bass at the age of Italian native Ada Rovatti started playing saxophone in high school after years of classical piano training.

He became the youngest musical director for Lovewell Institute, a national arts education non-profit organization. In his own trio, he explores standards, Brazilian music, blues and his Israeli roots. John Fedchock has been a mainstay of the New York jazz scene for decades.

The revered bandleader and master of the trombone has been wowing audiences and fellow musicians since his debut with the Woody Herman Orchestra in Renowned for his dense voicings, thick ensemble writing and unique, swinging lines, John also is a celebrated arranger and composer destined to make a lasting impression on big band music.

Jon was born in Kennewick, Washington. He began playing the string bass at age 11 and a year later began playing the electric bass as well. In Hamar relocated to Seattle, Washington, and was in high demand as a freelance bassist.

The Jazz Cruise is privileged to include an Album) of this caliber in its lineup. After eight great years, Rickey decided to pursue a solo career as both a leader and a sideman. Currently, he performs live frequently leading his own quartet and quintet as well as performing and recording with The Clayton-Hamilton Jazz Orchestra and the Frank Capp Juggernaut Band.

Rickey has over original compositions and extensive experience arranging for quartets and quintets. His latest recording, Pineapple Delight, consists of all original compositions arranged for a quintet. Jennifer Wharton is a low brass specialist based in New York City. Though getting her start classically, Jen has deep roots in jazz, commercial, chamber and Broadway music. Guitarist and Los Angeles native Graham Dechter is one of the most promising young jazz musicians on the scene today.

His talents as both a violinist and a composer led him to the Idyllwild Arts Academy in CA, one of three prestigious residential arts high schools in the country.

At Idyllwild Arts, Graham studied improvisation with legendary jazz bassist Marshall Hawkins, an experience that profoundly affected his musical development. He was 19 at the time and became the youngest member of the acclaimed orchestra. Personally, I love a warm guitar sound.

Better: I love HIS warm guitar sound. Javier Nero is a jazz trombonist, composer, and arranger whose musicianship is already receiving significant recognition. Nero has won first place in 4 international jazz solo competitions. Recently, Dr. Javier has also held the lead trombone position in the award winning Frost Concert Jazz Band at the University of Miami. His classical training and versatility have enabled him to perform in various styles and genres alike, ranging from small jazz combos, to symphony orchestras.

Endless Summer. Live at L'Olympia. Tales from the B-Side. White Blood Cells. The Director's Cut. Ancient Melodies of the Future. Camino Palmero. Dream Street. King of da Ghetto. Long Distance. The Saga Continues Space Boogie: Smoke Oddessey. This Is Rock'n'Roll. Buffalo Springfield. Pleased to Meet You. Tales from the Lotus Pod. Rings Around the World. The Butterfly Collection.

Choreographed Man of War. Robert Pollard and the Soft Rock Renegades. Les Claypool's Frog Brigade. Love Is a Battlefield. Plan B. Huey Lewis and the News. Sounding the Seventh Trumpet.

First Contact. Losing All Hope Is Freedom. Take-Offs and Landings. Time The Revelator. The Very Best of Prince. Crow Sit on Blood Tree. In Search Of The Isley Brothers feat. Ronald Isley, aka Mr. Get Down or Lay Down. Philly's Most Wanted. Gravitational Forces. Warmness on the Soul.

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The Anatomy of the Tongue in Cheek. Anyone for Doomsday? Circulatory System. Come Clean. Flirting with Twilight. It's a Wonderful Life. Thug On Da Line.

Live at Java Joe's. Leaving Your Body Map. If You've Never Been. Morning Star. Mutilated Genitals. The Charlatans. And the Word Became Flesh. The Coast Is Never Clear. Face 2 Face. Live in a Dive: No Use for a Name. Live Scenes from New York. Love and Theft. The Moldy Peaches. Rockin' the Suburbs. The Tiki Bar Is Open. Tomcats Screaming Outside. Wonders of the World. Long Beach Dub Allstars. Revolutionary Vol. Let It Have You Met Miss Jones? - Joe Pass - Virtuoso (CD Down.

Strange Little Girls. The Attraction to All Things Uncertain. Yankee Hotel Foxtrot. Here's to Shutting Up. Jhazmyne's Lullaby. The Look of Love. Positively Somewhere. John Mayer. Is Irish traditional music specifically to be only considered authentic in the context of kitchen get-togethers or pub sessions when played by amateur musicians?

The majority of student intake in Limerick, Maynooth, Cork and BCFE courses would wipe the floor with most regular session musicians before they ever get to college. Quite a few others are foreign students, accomplished musicians, attracted to ITM as a field of study. However they get there we are lucky to have them and most fortunate that they have the opportunity to study further their passion. If they can make careers of performance, teaching so much the better.

ITM has a place under its umbrella for players of the most diverse range of technical skill. That umbrella covers the kitchen players, solid session amateurs, untrained virtuosos, professionals who are trad or trad-inspired and those that have studied it to third level. No one group is the-one-true-way. How do you work that one out? Belfast was developed into a global powerhouse by the mid 19th Century, no? PS No one can play music without soul, come on!

Certificatum habeo, ergo sum applies to all aspects of life in this day and age. Fortunately as far as music is concerned the relative value of the certificate is apparant very quickly. Someone needs to define elite in this context. Am I missing something? Elitists come from academic and cottage settings equally Yet, hearing ppl write and say things like "turning tunes into cash" as I read above should make us all reflect.

That type of comment turns me into an elitist. A cobble stoned style elitist, not academic but u get my drift. Go buy a hammer and a tool belt if your looking for cash. If you want to be this kind of elitist, at least be honest about it. Excellent musicians will exist that never went on to study it formally, from all walks of life - win!

I know which I prefer. Chesterton wrote an essay warning of the professionalization of sports, at a time when there was, apparently, much hand-wringing in the press about England losing a cricket championship to India. John Ralston Saul has pointed out that it is not difficult to create a highly-educated elite; the more important challenge is to create a well-educated general populace. Apply to present issue or not, FWIW. Many of the sessions in town are Have You Met Miss Jones?

- Joe Pass - Virtuoso (CD by folk from the Conservatoire. Once I went to "famous bar X" for a drink, not knowing that a session was on. A friend of mine was playing and ask me to join them. After 30 minutes of not knowing a single tune another chap asked me to play a set. I did, and everybody except my friend, this other guy and a couple of others put their instruments down and started talking.

As soon as I finished, they grabbed their instruments and started playing again. It felt like highschool, where the cool kids pushed the stranger away, only with people in ther mid twenties and thirties. And here I was thinking that, historically, sessions were some sort of informal thing. Many of them played professionally with well know bands and some still do. For some reason many people in my age bracket seem to react differently.

This seems to be quite specific to Glasgow and quite specific to people who are in their thirties or younger. People will be polite at the festival session, but there is a bar being applied whether you hear anything said or not. Where the Uni Trad phenom comes in is, the increasing emphasis on highly professionalized and trained performance some of us might term it over-professionalized and over-trained. There are some incredibly sincere tradition-keepers teaching and doing degrees in these programs, but.

These programs are also cranking out players who are stone virtuosos, but in an extremely professionalized manner that bears little relation to what we might think of as folk musicianship. They are not in these programs to become "folk"musicians in any traditional sense of the term. They are there to become "professionals" and have "careers. This was the case with Willy Clancy and other greats. Few products of these Uni programs will ever touch the emotion, swing, and lift of Paddy Canny or Willie Clancy.

They want "careers. As noted upthread, they learn marketing and business in these programs, not that it brings income to more than a teensy fraction of them. The "sessions" they want to play are with their fellow hot "professionals," hopefully with you paying to watch them. A dismaying percentage of them are dissatisfied playing traditional folk music—they want to "compose. Are there any sessions in areas with music programs Limerick, Glasgow where student compositions are being played, or at least learnt by some session goers?

Those who have studied music are far grander for it - I wish more could do it. Thanks, Gobby. Yet I kinda wish I had saved the window I had just come back to after four hours and reread what had been said. If anyone is interested here is an article which I found which might shed some light on the matter.

What I am against, and will always be vocally against is the closedness in certain areas. However, for some reason, that friendliness seems to disappear when I try to attend sessions where people my age go. That attitude might backfire though. DaveF has experienced it, - see above - and so have I. I guess part of that message is directed at me.

One of the advantages of travelling as much as I do or didis having many different experiences. However, as I said earlier, annoying your potential customers is probably not really a good idea.

I wonder whether this reflects a failure by their tutors to instil in them ideas of session etiquette and behaviour? Perhaps the assumption is that by the time they get to uni they will all be experienced session players and should know this already.

However how they behave in public, including at sessions, is all part of how professional musicians should present themselves. The dynamics of such a group are bound to be different from one made up of relative strangers, and an outsider might feel excluded even when this is not intended.

A session is also a social occasion, not a performance. So yeah, elitification, definitely, sure…. Did it ever actually stop me from continuing to play music.

I think every musician confronts this. Someone mentioned that youtube virtuosos are making it harder for younger musicians to be persistent on their instruments because this virtuosity is so easily available at the click of a mouse, that there is no point in bothering to learn if one will never become a virtuoso.

When I was learning the guitar starting inI never was able to play the guitar solo in Stairway to Heaven. But along the way, I learned a million other things about music, including Irish music. I am not worried about "elitification" in ITM. The more young virtuosos the better I think. Every musician will have a path. Music is a calling from the soul. Nothing will stop any musician from pursuing the path of musicianship.

Most musicians start out and struggle and must go through a thousand continuous incremental steps of improvement. But many will just persist on and on and on, and will have some level of satisfaction at every level because music itself is driving them. Just give every child an instrument, or let them experiment with every instrument, and also have them sing.

Encourage, encourage, encourage, at every step. Many will drop out. But the musicians in every generation will emerge and if they want degrees, let them pursue degrees. If they want to create original music, they will do it no matter what obstacles are in the way.

Almost every session scene seems to have a few. Enthusiastic, nice people but in the throes of a full-blown Dunning-Kruger effect. If boisterous trombonist George Brunis suddenly becomes reflective and introspective or if Max Kaminsky launches a solo that sounds like whimsical Beiderbecke, Russell is probably there.

Even on earlier recordings, such as the One Hour by the Mound City Blue Blowers or Condon's Tennessee Twilightit was often Pee Wee who established the mood and the musical tone of the moment. Bud Freeman, for one, has often played solos that are undiluted Russell Condon's Home Cooking is an exampleand when it has happened, Pee Wee has usually been present. A number of modern jazzmen have expressed an interest in Russell, but with the possible exceptions of trombonist Bob Brookmeyer and soprano saxophonist Steve Lacy, there has been no notable Russell influence on younger players in modern jazz.

Pee Wee made a deep impression on Bobby Hackett, however, whose influential ballad style, distinguished by explorations into the upper harmonic reaches of each chord, is admired by musicians of all persuasions.

There can never be another group like the Chicagoans, for they represent the coming together of two provincial forces—the New Orleans musical fraternity and the Chicago jazz gang—and the sturdy music that resulted from this meeting.

While ingrown cliques will always be with us, it is no longer possible for one self-contained group of jazzmen to find direct inspiration in the work of another self-contained group imported nearly intact from a different part of the country.

Today the patterns of change and influence are national and international in scope, a situation that was only forecast before the twenties with the first traveling jazzmen and the first commercial jazz recording. It is a loss, in a way, because the Chicagoans accomplished what they did by playing and listening together. The weak members were not rejected but encouraged, prodded, and helped along until they could stand alone.

On the other hand, this very feature of the Chicago attitude may be a clue to the vein of melancholy that runs beneath the blithe music of these men. They were a kind of adolescent gang, and some of them never grew up. There is, after all, something fundamentally sad about an adolescent who is pushing As the swing era, during which each of the Chicagoans reached the apex of his creative powers, came to a close, members of the old gang either withdrew from the competitive arena or huddled together for protection again—this time against the shift to modern jazz.

Goodman, Krupa, and Freeman explored the new music but failed to become part of it. Only Tough could have done that, and he drank himself into the grave without finishing the job. So the music of the Chicagoans came and went. Their records tell us how good it was—while it lasted. Austin, a suburb to the west of Chicago, was an inauspicious setting for a jazz movement.

Ina group of students began gathering regularly at a soda parlor located near the nondescript buff brick Austin High School. The parlor featured a windup Victrola and a pile of records. We were used to hearing commercial dance bands, but this sound was something. So we all picked out our instruments. Tesch [Frank Teschemacher] said he was going to buy a clarinet, Freeman plumped for a saxophone, Jim] Lannigan picked a bass tuba, my brother [Dick McPartland] said he'd play the banjo, and I chose cornet, the loudest instrument.

Within a short while, the students had formed a working band, the Blue Friars —named after the Friars Inn. Nonetheless, mastering the transition to improvisation required a practical education, in which study of the Rhythm Kings was supplemented by careful listening to recordings especially the Wolverines' sides with Bix Beiderbeckeas well as Saturday night visits to performances including firsthand appreciations of King Oliver's Creole Band at Chicago's Lincoln Gardens.

Before long, other young players fell into the orbit of the Austin High Gang. Drummer Dave Tough, who was dating an Austin girl, became a close associate of the group. Some time later, when Tough left the band to travel to Europe, his younger friend Gene Krupa stepped in to play drums with the Austin High crew. Clarinetist Benny Goodman, then a freshman at nearby Harrison High, became acquainted with the Austin High gang when he attended a performance at a boathouse in Columbus Park.

Soon he too was playing with various members of the group. Their records tell us how good it was — while it lasted. Back in Chicago, the well-schooled players were finding good jobs in andand the seat-of-the-pants improvisers were taking what was left, Benny Goodman played the Midway Gardens with pianist Elmer Schoebel another former New Orleans Rhythm King who had never been to New Orleans. Trumpeter Al Turk and saxophonist Wayne King were working steadily. Inthey had a couple of good jobs at the White City Ballroom, about a block from the Midway Gardens, and drew admiration from Beiderbecke, Armstrong, and drummer Zutty Singleton who had recently arrived from St.

This kind of praise was, of course, highly valued. The Chicagoans were, by and large, a cocky and self-impressed group. Teschemacher was moody and serious, McPartland brash and outgoing, Tough cynical and questioning, Freeman impulsive and ingenuous, but all were convinced that they had something no one else had, and each member of the gang bristled with enthusiasm.

It was, however, inevitable that the band would break up. Each man needed a wider exposure to varying musical climates and a chance to develop his own identity. Whether it was the result of a conscious recognition of this need or not, the first move was made by Teschemacher, who joined Floyd Towne's band, first at the Triangle Cafe and then at the Midway Gardens in It wasn't too far from musical home for Teschemacher, after all. Benny Goodman found a promising spot in August,when he answered Ben Pollack's call to join his new band in California.

Pollack had hopes of building a first-class jazz band that could also present modern, cleanly executed arrangements instead of mere jamming on a select list of "jazz" tunes all night. He hired Glenn Miller, a skilled trombonist and arranger, and Joseph "Fud" Livingston, an imaginative arranger, composer, and reedman. Fud had been around Detroit and Chicago for about a year, working with Jean Goldkette units and broadening his knowledge of jazz.

Although he was born in South Carolina, Livingston fit the Chicago pattern — a deep love for jazz, an aggressive and optimistic instrumental style, an interest in widening the expressive scope of jazz through unusual harmonies his interest in whole-tone scales may have come in part from Beiderbecke, who was jobbing with Goldkette about the same time Fud wasand, one might add, a colossal thirst for alcohol. Pollack's idea was a kind of sophisticated extension of the King Oliver band approach: over a steady, swinging rhythmic foundation, make the music sound impromptu, but base the improvisations on a real structure, with interesting scored passages worked out in advance.

The Pollack unit would not be as free as the unique Oliver band, but it might go beyond it in other respects because its members were good readers as well as skilled improvisers. It would also borrow a little from the outlook of the best Goldkette bands. The idea looked good and sounded good, but Pollack had to make concessions to commercial demands and finally watered the band down with a couple of violins in order to keep working. Goodman's first released record was a Pollack date in December,when Benny was His solo on an ordinary popular tune, He's the Last Wordbubbles with vitality and confidence and contains an explosive staccato burst that may be the first Have You Met Miss Jones?

- Joe Pass - Virtuoso (CD Chicagoan musical device on record. Livingston's tenor also reveals a feeling for the tense "shuffle" style sharply accented dotted eighth notes followed by weak sixteenth notes that has often been identified with Chicago musicians and probably came from the New Orleans Rhythm Kings, Bix, Jimmy Noone, and Johnny Dodds. The Austinites didn't approve of the Pollack compromise and said so.

They held out for the all-improvised sound of the smaller band, although most of them had been working off and on with bands just as commercial and usually not as good as Pollack's. The Wolverines, under McPartland, secured one more good engagement before breaking up. Art Kassel took them, with Bud Jacobson in Teschemacher's place, to the Greystone Ballroom in Detroit another lively jazz center in the twentieswhere they were delighted to find themselves playing opposite Fletcher Henderson's excellent band.

Freeman was the one most affected by this circumstance, for it was his first encounter with Coleman Hawkins, who had already lapped all competition on the tenor saxophone. It can be assumed that a different Bud Freeman came away from Detroit after the Greystone job. Even a decade or so later, Bud remembered the stomping, on-the-beat approach of the Henderson saxophonist in as his favorite of several phases of the Hawkins style that had evolved over the years.

Dave Tough left the group next, then McPartland and Lannigan joined Bill Paley's band, and the others were left to dig up whatever they could find. Mezz Mezzrow had been sitting in with the gang now and then and occasionally had enlarged the sax section to three men for special jobs. He cut quite a father figure among the Austin gang, for Mezzrow was seven or eight years older and seemed very worldly, indeed.

He was acquainted with most of the South Side musicians, with several gangsters, with a connection for obtaining quality marijuana, with booking agents, and with the insides of several jails. Teschemacher, Freeman, Sullivan, and Gene Krupa were impressed, but Tough, though friendly, could see through the bluster.

Mezzrow favored all-out emulation of the New Orleans players, and gradually the gang lined up against him, stressing instead the development of then-own group style. When Eddie Condon moved into the inner circle, he, too, was unconvinced by Mezzrow's arguments, and the Chicagoans ventured further away from New Orleans jazz.

As a matter of fact, the New Orleans men themselves were breaking up their bands and the old improvised marching style. Armstrong had left Oliver, the Dodds brothers clarinetist Johnny and drummer Baby were playing a more intimate kind of jazz at Kelly's Stables, Jimmy Noone had a two-reeds-plus-rhythm-section group, and Oliver himself had hired a saxophone section.

Only Jelly Roll Morton continued to cling to the earlier forms. Mezzrow's attempts to convince Sullivan of the virtues of playing the Morton style were again unsuccessful, for Sullivan had heard the young and very modern Earl Hines, who was clearly the man of the hour among Chicago pianists in Tough and Krupa still regarded Baby Dodds with enormous respect and affection, but now Zutty Singleton seemed more in step with their musical thinking.

Bix was at nearby Hudson Lake with Pee Wee Russell inand most of the Chicagoans made pilgrimages to the resort to hear the band, play records, discuss music, and drink. Mezzrow went, too, but he had begun to feel left out when the gang discussed non jazz works by composers like Stravinsky and Eastwood Lane. Even purist Muggsy Spanier had become interested in formal music, and, of course, Sullivan had had plenty of it in his background to begin with.

Mezz just wanted to play the blues and was unhappy about this new digression. Teschemacher was especially fond of Beiderbecke and began to show it in his playing.

Like Russell, who had been deeply affected by Bix's melodic and harmonic concepts, Tesch introduced a hard, rasping quality into his tone that brought it closer to the brassy bite of the cornet and carried it away from the more liquid sound of the conventionally played clarinet.

Benny Goodman and Fud Livingston had also found this an effective means of adding punch and excitement to their solos. Beyond this characteristic which Goodman eventually droppedthese four clarinetists also shared an admiration for Jimmy Noone, who had changed Have You Met Miss Jones?

- Joe Pass - Virtuoso (CD the twenties from a delicate contrapuntal ensemble style to a powerful cornet-like lead with graceful embellishments. Thus was created what many call "Chicago style" clarinet.

Rhythm came first for the Chicagoans. They leaned heavily upon the skills of Tough, Krupa, and Wettling in establishing the fundamental pulse.

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8 Responses to Have You Met Miss Jones? - Joe Pass - Virtuoso (CD, Album)

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