Maurice - Norman Hedmans Tropique - Taken By Surprise (CD, Album)
Hedman, Norman Tropique - Taken By Surprise - arenhatdypenni.pleadincarcurecudicnervlogribotu.co Music. Skip to main content. Try Prime EN Hello, Sign in Account & Lists Sign in Account & Lists Returns & Orders Try Prime Cart. CDs & Vinyl Go Search Hello Select your. Taken By Surprise on LiveXLive. Percussionist Norman Hedman's medium-sized combo is well named; it plays an engaging blend of salsa, Taken By Surprise by Norman Hedman's Tropique - LiveXLive - Premium Live Music. Check out Norman Hedman on Amazon Music. Stream ad-free or purchase CD's and MP3s now on Amazon.
According to a representative of the CMA, this is the first time the organization has ever received so many requests, which prompted the idea of the viewing rooms, where there will be refreshments and a complimentary bar.
The representative also said that those ticket requests which could not be met would be given the option of viewing the show in these rooms, or receiving a refund. With four weeks remaining in which to register, the annual Talent Buyers Seminar, scheduled for Oct. Six minute panel discussions, two three-hour show- cases and a keynote address by Dr. Mor- timer Feinberg will highlight the three day event, which for the first time invited rock promoters and representatives from cable television.
Ad- ditionally, the Early Bird Bluegrass concert is set for Oct. The big birthday celebration Is set for Oct. In addition to the CMA Awards, there will be several other awards programs scheduled during the week, including the Nashville Songwriters Assn. International Awards Oct. The previous record, bettered by the duo and their opening act, the Wright Brothers, had stood untouched for 60 years. The main beneficiaries will be, of course, Nashville and the country music community itself with the increase of tourist dollars.
Fan Fair planners have scheduled the festival for the week of June 7. Thomas was the featured performer on the Sept. This week our congratulations go to Miriam and Bob Longino on the birth of their 9 pound, 1 ounce boy, born Aug. The young Katherine was also born at Baptist Hospital.
The Pointer Sisters will open the two-show-a-night concert engagement. Boxcar Wiiiie, recently filmed a segment of Pop Goes The Country, the nationally syndicated television show. Check local listings for air date. BoxBrentwood, Tenn. The new telephone number is CMA has scheduled its membership meeting for Oct. She will be back in Nashville in time for the October convention, when she will be booked at the Commodore Holiday Inn, Vanderbilt for the month of October.
Billy Sherrill no relation engineered. Sunday Sharpe demoed several of her own country songs, with Sherrill engineering. She writes for Pretty Penny Music. Bill Anderson doing overdubs for his next MCA release. Jim Foglesong is producing with Jim Williamson engineering. Ed Penny, who recently completed his second album as producer for T erri Gibbs, was back at the Emporium with another new singer — Rob Parsons.
Williamson engineered. A label deal for the project has not been announced. Austin or Nashville will be the home base. A note for the squeamish: the young actor is gunned down by a firing squad in the film. And did you also know the label was named after a creek in East T exas? The label is headed up by Frank Cranford and Lenard Goss. The Ritz Theatre in Elizabeth, N. Check with the theater for dates. Garvin, T. Shapiro Producer: Shelby Singleton Corpora- tion With this single, Remington makes a strong en- try into the field of country chart contenders.
A sure country add for radio and jukebox. Rodrick Holt Pub. This single is a strong follow-up to their last, "Antioch Church House Choir. Gatlin Producers: L. Espy Producers: T. Kershaw Producers: D. Producer: R. Reynolds Producer: L. Hayes Producer: L. Rogers BMI R. Hubbard Producers: H. Wooley Producer: L. Jenkins Producer: R. Tyler Producer: D. That riddle, however, should be resolved once the public gets a good taste of this album.
McEntire, perhaps the premier female vocalist in country music today, should really crack the market with this excellent collection of material.
Deutsche Grammophon Digital Richard Maurice - Norman Hedmans Tropique - Taken By Surprise (CD, piano. This is early ambient music, for as you listen, it is at once demanding, yet imposing. With two-handed dexterity, Goode plays Schumann emphatically. The dynamic emotional range here makes it interesting to im- agine that Beethoven was in the throes of deep depression when he composed what has remained his most acclaimed work.
A great work and great reproduction. Extrapolations built into this piece allow for Daniel Barenboim to manifest personality, adding still another dimension to this rendering.
The New York Phil offers a revered treatment of this work as it was Brahms very first piano concerto. Though Brahms considered this composition a failure in early perfor- mances, Barenboim and Mehta make this work a resounding success on vinyl.
Under the previously regime, the list boasted 67 records, but, after assuming control of the music, Phillips immediately pared the lineup to a more workable 25 plus extras — usually turning in a list with approximately 45 records total. Looking at two consecutive 5.
The winner will receive pressings of his demo on Handshake Records, with copies being distributed to radio stations nationwide for evaluation.
Pictured are the 10 contest judges and two KLCA representatives. Seated at the table are l-r : David Wood, Lacy J. Program director Dean Tyler will continue in that capacity, this being his first- term programming a country station. Jim DeCaro is the general manager.
For two years Keith handled the mornings, 3 a. After three years of handling the'? Among other accolades, he was most recently named one of the top five country air per- sonalities in the nation in Currently he is busy putting together a Nashville based syn- dicated radio program. Country Closeup. Sheppard, Alabama and Glen Campbell. The package comes complete withfive second slots for local sale, guest artist promotions, customized station IDs, acF" slicks, press releases, contests and local merchandising tie-ins.
For further information. The two-hour program will consist of a top countdown plus special features and news segments about country personalities. For more information call: Kirdar has been withi 1 the country stations sincemost recently serving as sales assistant. She replaces Jan A. Smooth, rich vocais become the trademark of this reiative newcomer, as he deiivers his message through diverse lyrics. The quartet comprised of brothers Marvin, Carvin, Michaei and Ronaid, projects a sound that couid easily crossover to black contemporary formats.
Marvin is the songwriter of the family, claiming all but one of the tunes on the album. Arrangements utilize a lead vocalist with tight harmonic back-up, a musical style that The Winans seem to have invented. Chapman recently visited with members of the staff at Word Records to finalize plans on the dates. Pictured above are l-r : James Bullard, director, black gospel division. Byron Spears, president of Birthright Records, has announced that the first of two new Edwin Hawkins albums will be released by Myrrh Records in late Sep- tember.
Askey has previously worked with Diana Ross and Curtis Mayfieid. The custom label is currently staffed by Mike Coward, general manager, and Don Kunselman, director of artist services. Mustard Seed offers over background tapes for recording sessions, as well as providing original arrangements of material. In the new position.
Waller will be responsible for handling concert promotions for Dallas Holm and Praise. The concert series represents a first for the Nashville-based group, as they appear as part of a regular subscription series presenting a mixture of Broadway songs with spiritual music in civic and high school auditoriums. Retired Nashville attorney, Frank E.
Ratner, has announced plans to publish a music in- dustry newspaper. Country Music West, which will feature news pertinent to the country and gospel music industries. Ratner was formerly an attorney for several country and gospel music artists in Nashville, where he also published the Country Music Telegram un- til his retirement inwhen he moved to Los Angeles.
Ratnerwill be assisted on his new publication by Frances Kavanaugh-Hecker, a former motion picture and TV writer. The album will feature special string backgrounds on five of the 10 cuts.
McCreary later received a standing ovation at a reception at the home of Andrae Crouch hosted by Light Records, with key executives attending to meet announcers from across the country. Mann, the winner of two Grammy Awards, also an- nounced that many local Hilton Hotels and Inns will be the official headquarters for each competition.
The first of 50 state festival competitions will be January 9, in Los Angeles, with 49 other state festivals planned for January through March. Six regional competitions will take place in early April and May, with the finals set for the Memorial Day period in Philadelphia.
Charies Hirt, professor emeritus at USC, will head adjudicating activities. The Festival will be unique to choral competition. Each state competition will be conduc- ted in four divisions which will include all groups from junior and senior high school choirs through university concert ensembles; from local barbershop quartets and choruses to civic and church groups and independent amateur units.
Groupswill be judged exclusively on the quality of their ensemble singing. Clawson was also presented with the specially made hour glass that adorns the cover of the album, Maurice - Norman Hedmans Tropique - Taken By Surprise (CD. The vocalist earlier this year won three Dove awards, including Female Vocalist of theYear. Ad- ditionally, she walked away with a Grammy this year for her participation in The Lord's Prayer. A bit of Clawson trivia — did you know she has a vocal range of nearly four octaves?
This was only the second time in history that entertainers were so honored in that city. And it's got all the soul fire that's made the world famous Staple Singers consistent sales makers and chart toppers for so long. From the eariy days when he listened to the music of Rev. James Cleveland and C.
Franklin, to his eventual work as a staff songwriter with Curtom Records, making music or helping shape the music of others has served as a vehi- cle for his artistic being. Currently in release are several projects which Jackson has produced or co-produced. But even with the volume of work, Jackson treats each project as if it were his Pygmalion, providing the artist more than proper sound level and tight mixing.
Jackson said he had plans to work with other producers through the company, including cohort T ony Coleman, in the capacity of executive producer. But the life of a record or production company executive is not exactly his schtick.
That ageless soulster, Solomon Burke, is in the process of making a move toward developing a larger audience. Through Wilson Prods.
Scheduled for Sept. Williams is currently handling press and promotion for the just filmed Reggae Sunsplash cinema project. She can be reached at or The album features the work of those popular reggae sessionists Sly Dunbar and Robbie Shakespeare. Cathy Jacobsen was recently named director of sales and distribution for Emergency Records. Morgan, T. Marie, Pointer Sisters, D. Richie, Ebonee Webb, Q. Jones, D. Cariton, D. Laws, E. King, Evasions, L.
Davis, Whispers, Ebonee Webb, Roger. Coie, E. Wiiiiams, S. Carlton, D. Richie, Ebonee Webb, L. Vandross, N. Straker Band, D. Band, C. Lattisaw, Bros. Jackson, L. Vandross, F. Henderson, A. Benson, D. Band, L. Vandross, S. Duke, D. Harry, Manhattans, Tavares, Graingers, 4 T ops. ADDS: Bros. Johnson, Love Unlimited Orch. Jackson, 4 Tops, Manhattans, A. Franklin, Tavares, P. LaBelle, L. James, 9 To 3 — V. Straker Band, 20 To 15 — D. Williams, 22 To 16 — N. Cole, 24 To 17 — Sparque, 25 To 18 — N.
Weathers, 29 To 22 — D. Byrd, 33 To 23 — B. Benson, HB To 32 — T. Pendergrass, HB To 33 — S. Mills, HBTo 34 — H. Alpert, HBTo 35 — G. Mayfield, B. Jackson, M. Coie, I D. Byrd, G. Richie, C. Carlton, Pointer Sisters, L. Graham, 4 Tops, B. Band, P. Benson, T. Byrd, J. Cam, Maze, H. Alpert, P. Austin, S. ADDS: B. Bland, L. Jackson, P. LaBelle, N. Emotions, Love Smith.
Richie, S. Band, Evasions, R. James, Millie Jackson, 4 Tops, S. Duke, G. Henderson, Maze, D. Williams, G. Jones, L. Vandross, D. Byrd, Q. Jones, The Time. ADDS: C. Khan, H. Mason, R. Life, C. Moore, B. Jackson, 4 Afterbach, J. Knight, L. Richie, D. Benson, TTF, P. Austin, Dream Machine, S. Mills, T. Pendergrass, Pointer Sisters. Robbins, B. Ocean, Strikers, Wrecking Crew. Band, Dazz Band, D. Richie, J.
Morgan, E. King, Al Jarreau, Brick, R. Crawford, R. Cam, Betty Wright, Fatback, Whispers,! Slave, P. Cole, Emotions, Commodores, C. Carlton, L. Vandross, Roger, E. King, R. Robbins, T emptations, Sheree Brown. Horne, Dynasty, D. Byrd, L. Vandross, Roger. Morgan, C. Carlton, P. Marie, Graingers, West Street Mob. Band, B. Broom, S. Mills, D. Carlton, 12 To 9 — J. Cam, 13To 10 — Evasions, 15To 11 —S. Duke, 16 To 12 — D. Williams, 18 Album) 14 — N. Jones, 28 To 22 — L.
Vandross, 29 To 23 — Graingers, 30 To 24 — D. Byrd, 31 To 25 — A. Laws, 34 To 30 — D. Straker Band, 37 To 32 — S. Reynolds, LPTo 36 — Bros. Johnson, LP To 37 — T. Lattisaw, K. Benson, 18 To 14 — R. Austin, 23 To 20 — K. Diamond, 25 To 21 — L. Vandross, 26 To 22 — B. Pendergrass, 31 To 25 — L "1. Jones, HBTo 32 — N. ADDS: R. Williams, L. Reynolds, H. Hancock, S. Lattisaw, L.
James, 8 To 4 — T. Henderson, Ex To 35 — Atlantic Starr. Vandross, J. Knight, B. Mason, Ebonee Webb, Dynasty, 4 Tops. Vandross, C. Morgan, D. Williams, N. Straker Band, S. Band, Brick, 4 Tops, B. Band, H. James, C. Morgan, L. Vandross, E. King, Brick, Evasions, L. Graham, T. Franklin, S.
ADDS: Q. Jones, B. Broom, Dells, R. Fields, L. Williams, S. Mills, B. Ocean, B. James, B. Marley, L. Morgan, 4 Tops, Maze, A. Richie, R. James, Roger, S. Graham, C. Carlton, Cameron, D. Pendergrass, P. Austin, L. Vandross, B, Mason, Afterbach, Time. Knight, R. Carlton, B. Band, A. Benson, 4 Tops, Brick, D. Richie, L. Graham, Al Jarreau, R. James, S. Band, D. Williams, Commodores, L. Broom, Arthur, M. Mason, J. Jackson, Spyro Gyra, D. Morgan, Dayton, Brick, C. Band, Vin Zee, E.
Kendricks, Bros. Johnson, Evasions, S. Marie, S. Lattisaw, Afterbach, Emotions, N. Pointer, R. James, L. Vandross, ADC Band. Moore, R. Fields, Midnight Star, C. Mayfield, One Way, C.
Marley, Spunk, K. Williams, F. Smith, Klique, Wild Sugar. Pendergrass, D. Alpert, L. Johnson, D. Laws, R. Life, B. Band, Wrecking Crew. Marie, Pointer Sisters, P. Henderson, Al Jarreau, S. Lattisaw, D. Benson, C. Carlton, E. Vandross, L. Jackson, Shalamar, H, Alpert, Q. Jones, Change, S.
Knight, W. Jackson, T. ADDS: Temptations. Band, 4 Tops, S. Henderson, C. Robbins, Cameo, Fatback, Bros. Johnson, C. Carter, D. Byrd, Strikers, Bohannon. Ayers, Emotions, 4 Tops. James, T. Marie, C. Carlton, Brick, Pointer Sisters, L.
Graham, V. Mason, Sequence, P. Henderson, B. Straker Band, B. Graham, B. Morgan, R. Benson, L. Byrd, P. Austin, Graingers, Stylistics, G. Pendergrass, S. Mills, V. Mason, Dynasty. Woods, D. Laws, M. Henderson, L. Vandross, R. King, C. Marie, The Time, Commodores, D. Morgan, Al Jarreau, R. James, Manhattans, 4 Tops, N. Band, Temptations, L. Vandross, Brick, Jacksons, Whispers, D. Williams, T. Cole, Whispers, D. Vandross, Emotions, Dynasty, S.
Band, 28To 19 — 4Tops, 26To22 — B. Band, HBTo 24 — A. Johnson, One Way, Slave, B. Franklin, M. Bland, The Time, J. Carlton, R. Marie, F Smith, E. King, 4 Tops, Shalamar, L. Graham, Roger, R. Fields, T. James, P. Ex: D. Harry, Commodores. Williams, 21 To 17 — Time, 22 To 19 — A. Benson, 25 To 20 — Cameo, 27 To 22 — H. Austin, 30 To 27 — D. Johnson, 38 To 35 — E. Graham, Shalamar, T. James, E. King, Raydio. Band, Cameo, Fatback, Q. One of the most disconcerting outgrowths of the prosperous era has been the proliferation of adverse legislation prompted by the crowds that flock to arcades and amuse- ment game centers, and the revenue- minded media attention that the video game explosion has been given.
Stringent state and city ordinances call- ing for increased sales tax on games, new zoning restrictions on arcades, an 18 year- old and over age limit and bans on amuse- ment games altogether have been proposed and, in some cases, enacted because of the coin machine fervor. Anticipation of and involvement in court cases throughout the land has caused those in the coin community to seek safety in numbers.
Mesquite, Tex. Bloom, president of Gottlieb. Nova has been Gottlieb's exclusive distrib- utor in Germany and Austria for over two decades, under the leadership of Alfred Freddy Adickes, who recently sold Nova to the A DP interests to devote his time to golf, charitable activities and relaxation, but remains with Nova as chairman of the board.
In addition, further civil actions are in preparation against other known importers continued on page 40 new president of Nova is Hans Rosenzweig, one of the best known] figures in the coin-op industry on the international scene.
Mullane, president of Bally Manufacturing Corp. Among those appointed was E. Barth, who was named vice president-finance. Priorto joining Empire, he served as assistant corporate controller at Seeburg. Barth is married and resides in Elmhurst, III. He attended the University of Wiscon- sin, and started out in the coin machine business with a peanut machine route and later became sales manager for U-Select- It.
He has spent 22 of his 30 years in the coin machine business with the Empire organization. Married and the father of four children. Rondeau lives in Green Bay. He is a graduate of Pur- due and Indiana universities and has been in the coin machine business for eight years, seven of which have been spent with Empire.
Dugan, who lives in Indianapolis, is married and the father of three children. WBS 3. WBS 9. WBS 2. OMAA in Columbus. Led by president Paul Corey, the member group was responsible for working out a new city zon- ing ordinance in regard to the specifica- tions needed to obtain an amusement games license. The letter contained a list of machines lost by association members along with the manufacturer and serial number in order to help law officials.
Corey also stressed that now was the time to do public relations work for the in- dustry, and to show that arcades are a true business. He added that working in Con- gress with those in the community and other state associations was also the proper stepping stone towards alleviating the adverse legislation. Michigan arcade and game center own- ners have been faced with ordinances in several places in the past months.
One of the most heatedly debated ordinances was one that threatened to ban games at con- venience stores where liquor is sold in the city of Flint. The town's operators formed their own group, hired a public relations consultant as a lobbyist and also recruited an attorney. After debating with the city council, the proposed ordinance was stopped. And while state associations are helpind communities and city governments to uni derstand the amusement game businessl there is still a long road to hoe as far as citj ordinances and legal disputes are concerj ned.
Music Operators of Minnesota. He formerly served as eastern regional sales represen- tative for Abloy, covering the east coast states. Jack W. Pictured in the bottom photo is an assembly line full of "Venture. Your mission: To fight off the alien menace and extinguish the fires that feed their powers!
Hot profits! Your weapons Bonus" every time you get a "Playfield Bonus"! California Ave. NAMA in order to communicate positive information about the vending industry to [the general public.
The stories, accompanied by cartoons, were written by the NAMA staff and stress the services performed by vending operators, the variety of products available, the applications of vending in different locations and the development of new equipment in recent years. The program runs through Oct. Further information may be obtained through Valley distributors. Heiser, who at- tended the American Academy of Dramatic Arts, is well known throughout the industry for the noted Empire Follies revue which he produces on behalf of the International Or- der of Alhambra.
Reserved in the U. Heiser has been in the coin machine business for 18 years and has been with Empire for six. Married and the father of six children, Heiser resides in Southfield, Mich. He attended Wayne State University and spent nine years in the in- surance business before coming to Em- pire. He has been with the Empire organiza- tion for his entire year tenure in the coin machine business. Married and the father of three children.
LaRoux lives in St. Joseph, Mich. The promotion of the four branch vice presi- dents is an indication that the four branches of Empire Distributing are equal in size, volume, profit and services offered to most independent distributors in the U.
Abloy Security Locks is located at W. Howard St. Presented is a photographic lineup of some of the new machines introduced by the various music and games manufacturers and dated according to their exposure in Cash Box. An updated version of a previous Bally pin, equipped with multi- ball action, innovative play features and a most outstanding voice package.
Attractive graphics. The name comes from Greek mythology; the play theme of- fers fast-paced space combat action por- trayed in the progressive screen concept of four different phases. Ex- tended weaponry is a key feature for in- creasing scores. A multi-level, multi-ball pingame trom Williams with bold, colorful artwork and fascinating design symbolic of ancient Egypt.
Heated pinball action, too. Easy to learn but tough to master, the object of play is to destroy the centipede and its monstrous allies. Player uses a Track-Ball controlled gun. Action aplenty. As always, Taylor played with imagination and elegance. Once Kleinsinger assumed his familiar position with microphone in hand, it was like old times to anyone who has been an attendee at any of his concerts.
His passion and sense of humor, often self-deprecating, has been a hallmark of his shows. Featuring collaborative compositions, these five-time Detroit Music Award winners are poised to cast an even wider net. He then introduced the lineup of musicians who were to perform the bulk of the selections for the concert: Ken Peplowski on tenor sax and clarinet, Wycliffe Gordon on trombone, Byron Stripling on trumpet, Ted Rosenthal on piano, Leonhart on bass and Gottlieb on drums, with Leonhart serving as the nominal leader.
The second set kicked off with a duo performance by guitarists Bucky Pizzarelli and Gene Bertoncini. Those who came to enjoy a concert representation of what this exciting series and its producer are all about, certainly left the building satisfied. Hyman is a master at selecting great players to perform with him, and presenting them in a variety of combinations that evoke the kind of eclecticism that is a characteristic of great jazz musicians. Initiating the second set, Hyman and Locke combined for an examination of the stride tradition with James P.
Once again, Hyman proved to be a masterful blender of jazz talents. The next evening, Zankel Hall served as the site for a very different musical experience. This is simply one of the tightest groups in jazz, having performed together for over 14 years. They work out their arrangements as a group, with each member making contributions to the whole.
The individual members of TSB are intensely talented. Sutton has a sound all her own, slightly nasal at times, but always in tune and on pitch. Her musicianship is always apparent, and she sings with an intelligence that never wavers. This is also evident in her incisive and witty commentary between songs.
Jacob is simply one of the finest pianists on the jazz scene today. He is a complete player, equally at home as a jazz improviser, and as a sensitive accompanist.
Henry keeps time like a fine Swiss watch, and always seems to choose just the right notes. Brinker is truly a percussion artist. He paints a variety of colors, especially when utilizing his deft touch with the brushes. One feature of many TSB arrangements is the musical tension that underlies much of their approach to songs. The next three selections are ones that seem to find their way into most of the performances that I have seen by Sutton and her cohorts.
Most of those present seemed to be hoping that they shall indeed meet the Tierney Sutton Band again in the near future. These are the kinds of concerts that attracted me, and many others into the world of jazz, full of music that challenges the listener to pay attention, yet never so out that it allows that attention to wander.
The innovative and delightfully surprising improvisations heard in the intimate Spanish Courtyard show why Caramoor is the perfect environment for summertime jazz. The concerts take place in two outdoor theaters — the large, acoustically superb Venetian Theater, and the more intimate, romantic Spanish Courtyard.
Tickets may be ordered by calling the Box Office at Always a Labor Day staple, the Tanglewood Jazz Festival continues to be a traditional annual event for many jazz fans. Lovely waterfront stage! Tickets for the Tanglewood Jazz Festival are available by calling SymphonyCharge atonline at www. A full schedule is also available at their website. Now based in Hartford, Nicki and her All Stars excite audiences with jazz standards, blues, Latin jazz, Brazilian, spirituals, originals, show tunes, popular, contemporary, and reggae music.
Marcus Garvey Park is located at th St. Morris Park in Harlem. The City Parks Foundation produces over 1, performances each year in parks across all five boroughs, a schedule that makes the organization one of the largest arts presenters in the city and in the nation.
Details about all these festivals and more can be found at www. SAND, Inc. Celebrating jazz women thru her New Millennium All Stars. Joining these legends will be many newer stars such as Nicole Zuraitis and Jimmy Greene. This 3 day event is also known for its tasty food and general feel-good atmosphere. Besides presenting the best jazz has to offer, the festival also allows Litchfield Jazz Camp students to show off their hard work from the preceding four weeks.
The students get to perform in a smaller tent on Saturday and Sunday alongside the large main stage tent. Speaking of students, Nicole Zuraitis will be singing songs from her debut album with Zaccai Curtis on piano, Luques Curtis on bass, and Richie Barshay on drums—all of whom were past students at the camp.
Nicole began attending the program in ; the year it began. She says that in regards to her successful music career, everything she has learned is rooted in her years at the Litchfield Jazz Camp. Nicole will be singing both standards and original material. For the last day, the action does not slow down. Ending this jam packed all-star weekend is the Album) and only multitalented John Pizzarelli who, with an orchestra behind him, will be performing a tribute to Frank Sinatra. But what makes this year different?
A slew of previous students and instructors are performing with their own bands. Their hard work is paying off. Thirty-five percent more students than any other year are performing this summer. Along with Nicole Zuraitis, Jimmy Greene is also an ex-camper as well as a current instructor. This is his first time leading his own band at the festival. Jimmy has given back by teaching ensemble, theory, and saxophone since The proceeds from the event will support the Litchfield Jazz Camp scholarship program.
Festival grounds open at pm Friday afternoon, with music running from pm to pm, and on Saturday and Sunday, grounds open at am with music running from noon to pm.
Tickets can be purchased on-line at www. Main stage tent tickets are limited, while lawn tickets are usually available at the gate. Rain or shine, the show will go on and audiences will experience one of the greatest jazz events of the summer.
Deadline: 14th of the month preceding publication e. May 14 for June issue. Listings placed on a first come basis. Hart, S. Every Friday PM. Visit TommyIgoe. Central Park West 79th St. No cover. At Rumsey Playfield. Enter park 69th Ave. Late Night Groove Series. Jazz Mass. No charge. Houston St. In Parker Meridian Hotel, W. Piano in the Park Series. Behind NY Public Library.
Marcus Garvey Park. Starts at pm. Morris Park. Tompkins Square Park. Free; drink min. Denhert at Blue Note. Jazz for Curious Readers Aug. Free with museum admission More information: Movie Bottle Rocket pm.
Fulton Ferry Landing, at the foot of the Brooklyn Bridge. Movie pm. Live recording. AUG 1- 3 T. Meet the Artist session follows. Main St. Jazzmobile Earl May Tribute. Bigelow St. Milford Ave. No cover or min. Summer concert series. On-site parking available. Near Market St. Prospect St. Swing dance party. Campus Drive, just off Rt. Market St. Spanish Courtyard. Bebe Neuwirth pm. Wynton Marsalis pm. Venetian Theater sold out. Aaron Diehl pm. Jimmy Heath Big Band pm. Venetian Theater. Saturday, Sept.
No music charge. Sacketts Harbor, NY. Highlights in Jazz, 7 Peter Cooper Rd. Sept 18, - pm Thurs. Oct 16, - pm Thurs. Nov 13, - pm Thurs. BoxMaplewood, NJ ;www. C at 10th St. West Villagebetween Sixth and Seventh Aves. Crossroads at Garwood, 78 North Ave. Broadway at Chambers St. Orange, NJwww. Rose Hall, Broadway at 60th St. Marks Place, Tel:Fax:www. CMakor, 35 W. Nicholas Ave. Nicholas Av at thSt. A, Silvermine Tavern, Perry Ave. Norwalk, CT, www. Kaplan Penthouse, W.
Piermont, N. Between 8th and 9th Aves. Marks Pl. Brooklyn, NY,www. Service Rd. Room, Princeton University-Dept. Director, Grove Street, Mt. Kisco, NY, www. He began working as a sideman and developed into a talented leader, recording and playing internationally.
Benny Golson www. Benny Golson is the only living jazz artist to have written eight standards for the jazz repertoire, and was the subject of the Tom Hanks film, The Terminal. Felipe Salles www.
Before coming to the United States, Felipe was active in numerous combos and bands as a saxophonist, composer and arranger. He has had the opportunity to work with numerous prominent jazz artists and has won several prestigious awards.
Willie Martinez www. As well as being one of the most sought after drummers on the Latin Jazz scene today, Willie is also a gifted composer, arranger and vocalist. He has performed and recorded with artists as varied as the legendary Jazz pianist George Cables and contemporary Pop divas Jewel, Faith Hill, and Brandy. Mario Pavone www.
Unlike most artists whose careers span five decades, his most recent recordings are his most widely acclaimed, appearing on numerous best-of-the-year lists. Gretchen Parlato www. Larry Carlton www. After spending years as a coveted session guitarist, Larry embarked on a Grammy Award-winning solo career. He has set a standard for artistry that spans three decades, and he is undoubtedly destined to leave his mark on jazz, blues, pop and rock for years to come.
Howard Alden www. Howard has been playing the seven-string guitar sincewhich imparts a greater range and harmonic richness to his already colorful tonal palette.
Kenny Barron www. After working with many jazz stars early on, Kenny joined the faculty at Album) University from to He has done extensive recording as a leader and solo artist, receiving Grammy nominations in the process. Akua Dixon www. She performs nationally and internationally at concert halls, colleges, public schools, libraries, and jazz festivals.
Akua has always been involved with inspiring children to pursue their musical talents, giving lectures and clinics to students all over the country. She has founded a string quartet and string ensemble that are both widely acclaimed. Elio Villafranca www. In composing and improvising, Elio draws from a deep historical knowledge of a variety of musical cultures. He has performed at world-renowned venues such as the Umbria Jazz Festival.
I was just trying to find songs that would fit together. I took it at a leisurely pace, as it came along. I recorded an awful lot of other songs in an effort to find songs that would create a pretty good flow. JI: I noticed that when you were growing up, one of your inspirations was watching the Perry Como show guest starring Chet Atkins. My parents knew I had an interest in him and I still have the record that they got autographed when they went to see him, the We Get Letters album.
Could you talk about what it was that attracted you to that music? Well, myself, I tend to look at music as music. At that age it was just about the music. I know my mom liked Como quite a bit and like you say, that was the weekly television program back then. Chet Atkins is a really big influence on how I play right up through now because his finger style playing led me to pursue my own finger style with playing and also, brought me up the way it did, following jazz piano instead of jazz guitar which was really how I learned how to play.
I moved from Chet Atkins and Wes Montgomery and George Benson and those types of players, right into Bill Evans and that type of playing, instead of a chordal type of playing. Just the way a piano player uses voicings is so different from a guitar player. I was just looking for my own identity and that was something that I really keyed in on. Starting around eighteen or nineteen, I really wanted to go after that style. Chet has had a very special, unique approach.
He also had a larger harmonic range and more counterpoint due to his style. It was just a different approach. JI: I liked your point about looking to players other than those that play your instrument for inspiration. You mentioned Bill Evans, and he has a lot of voicings where he uses the minor seconds with the ninth below the third which can be tricky for a guitar player.
Was that helpful for you in developing your technique? EK: Oh sure. It becomes a way that you navigate around your instrument.
For me, so much of that helped me early on. EK: Absolutely. JI: Can you talk a little bit about the importance of developing a healthy curiosity about ideas and people both in and out music to bolster your artistry?
EK: Oh yeah. Living your life is a large part of your human and emotional development. For me, that directly relates more to your songwriting than how you play the guitar. I think all my life experiences, good and bad, are what I draw upon when I write music - your memories, your hopes, your hopes that are dashed, your tragedies.
All of that to me is a much more powerful tool for songwriting than any technical aspect of playing the guitar. JI: What are some of the processes you go through when composing? EK: I write it all in my head. My songwriting is completely organic. All of my exposure to music in elementary school was Rodgers and Hammerstein and Broadway.
So I think all of that exposure forms a comfort zone of things that appeal to you. For me, I try to widen that by listening to a variety of music. But most of that is experimental for me. JI: How has marketplace pressure influenced your music or your creativity? EK: Not terribly much. I like a wide variety of music but I can only write what I can write. In most instances I never expected those things to go that way. It just happens from time to time when I do a variety of different songs.
JI: Can you touch upon your association with George Benson and how that developed? EK: I met George when I was seventeen. I was still in high school. He was playing a couple times a year at a club that was not too far from where I lived, called the Keyboard Lounge. I would get together with him in the afternoon and we would practice and play.
He was fascinated with the fact that I was playing classical guitar. I was trying to do something different, and he was very encouraging. I think it was and he was doing a record with a lot of Spanish influence, the White Rabbit album, and I played on that. It was interesting because up until that time, George was doing an organ trio or an organ quartet with a horn and he wanted to try something different. So about a year after I joined, it was me and him playing guitar, with bass and drums.
It was about a year of just working. I was trying to find my own way in improvising and being on the spot - and nothing beats being put in the real world. So it was a great experience for me. Then, I played in a couple of other bands before coming back to Michigan for a couple of years. I did afternoon solo gigs and evening shows with my bands, and practiced the rest of the day. I got very lucky, very early, and was able to secure a good record deal.
I just talked to a guy today with a guitar tape and he wanted to know how to get in touch with a record label. I want to be able to help him but I took a six year leave from recording. It was for a number of reasons, but most recently, my mom passed away.
Since then, Time Warner has changed and everyone that brought me there is gone. When I tried to come back and get a deal, it was so different from the way I remember it. EK: Well, yeah. You have to be true to yourself. You have a responsibility to yourself and your fans. EK: Yeah. And you know, it is what it is. I can see their dilemma as much as I can see mine. Things have really changed. But things are always changing. When I was younger, music was the thing for people, a major source of entertainment.
Today there are so many things vying for your attention like sports, or other art forms like dance, and I think things have just changed. JI: And people have reached a sensory overload because there are so many more gadgets than just a telephone and a TV. I just have my acoustic guitar. One original idea is worth ten of mine. You want to learn how to move around your instrument and then you just want to be yourself. JI: What was it like working with George Shearing? EK: George was the sweetest man.
At the time I was working with him, I was really trying to get it together. He played a lot of his hits but in the rehearsals and jam sessions it was a lot of straight ahead stuff.
So that was good for me, to play with a group that was on that level. It was fun, and it was another situation where I learned what I needed to learn through working with him.
JI: I know he does things in unusual keys and there are specific arrangements. What was your approach when you joined the band? EK: I just really tried to learn the heads of the tunes. I just played through the tempos and chord changes as well as I could at the time. But I think a large part of why he hired me was my classical guitar background.
I played electric guitar with him but George would always let me play a couple of solo classical guitar jazz tunes.
He wanted a different approach. What a nice man, and what a musician! Even though his recordings may not come off this way, he definitely belongs in the history books when it comes to playing guitar piano-style. When I was working with George Benson, we would play a song for ten or fifteen minutes. He would get into a solo and he worked through it so quickly and hit it so hard.
JI: What was it like collaborating with Bob James? EK: That came about early on in my career. It was my group, which was just keyboard and drums at the time, and Bob had a quintet, a pretty big group.
Bob would open and we would play together. I started to come in early and play with his band. I ended up playing on his album Touchdown. It was interesting because there was nothing that was planned out ahead of time except the personnel for the record. Bob was going to orchestrate the record.
So basically, Bob came in with a road map with everything completely written out and I showed up with a piece of scrap paper with chords on it laughs. I really enjoy working with Bob because everything falls into place.
I think the album took three days to make. There was no rhythm section and no overdubbing. I do remember that two or three weeks after we did everything with the first record, Bob called me up and I could tell something was on his mind. I told him I thought it sounded great and he went with that because something was worrying him. When the record came and it did so well, so quickly - none of it was planned for radio. We just played for three days.
That was one of my best experiences ever. JI: Given that you said your music comes freely and naturally, how do media critics impact your perspectives about your music? EK: Oh, not at all, except maybe to get under my skin laughs. I used to read more of that and there are people I respect.
But for me, I just keep trying. Maurice - Norman Hedmans Tropique - Taken By Surprise (CD work hard, and I continue to work hard. There are all kinds of stuff I wish I could play or work at. I just know that where I am now is a much better place than I was twenty years ago. I just work as hard as I can and do the best I can.
I just think it really has to be about your whole development; your music and everything else in your life. That is very rare with a jazz CD on an independent label these days. Can you tell us a little about that? How do you feel it was a personal success for you, and in what ways, if any, has this affected your career?
JR: Well, one of the biggest ways it was successful was with radio play. That was indeed phenomenal. I was so, so proud. It skipped chart-bound, debuted at 33 and went to 3 by the second week. That was a shock. Two weeks later, it hit 1 and stayed on the top of the charts for 34 weeks. I also received dozens of letters from DJs across the country.
That, to me, will always be the best thing that ever happened. I love DJs and I have known several as friends throughout my life. They just happen to love music and play it all day long. So they are really listening. So, in that way, I felt the CD was a success. It was very fulfilling reading those letters. And the magazine critics were very kind also. So all this was very personally gratifying for me. To finally have all that recognition, especially after doing this for such a long time, felt so wonderful.
Success to me is about the feeling that you accomplished what you wanted to do. As far as how that success has affected my career as an independent artist, I would say that the exposure has made it a little bit easier getting gigs. For example, a nice booking agent named Michael Cherigo called me after hearing more about me through radio play. He has given me some good concerts. The major labels have all that included, but not the small independents.
I can only say I was smart enough to put together a great group of musicians. I sometimes wondered if I was crazy as I was putting it all together but I went totally by intuition. I had a jazz harpist, Carol Robbins, and then the funky, bluesy Red Holloway. I met Red for the first time in the studio. We had spoken on the phone and I sent him the music ahead of time. As soon as he started to play I felt something in me really come alive.
I think you can hear my happiness when I am singing with him. He just brings it out in me. I also picked a trio that had worked together for many years, consisting of Jeff Hamilton, Christoph Luty and Tamir Hendelman.
They play as one unit, which I think is pretty important. The trio is your base and that has to be tight. I had worked with Tamir for a couple of years in L. He is a brilliant pianist. He and I worked on the arrangements together And then there was the beautiful Larry Koonse on guitar who was great to play with.
He is such a warm person and his playing is glorious. He actually got me booked at The Museum of Art in Philly. He is one of the most gracious and knowledgeable people I have ever met, so anything he says I will listen to very carefully. He said I should meet her, so I did.
She has a couple of beautiful CDs out. And I started thinking of how I could integrate this harp into the music I had in mind. It worked beautifully. We both felt the song the same way. It flowed so effortlessly. So there was this hot, tight trio, a gorgeous jazz harp, funky and spirited Red, and the beautiful guitar of Larry Koonse.
It had so many different elements, but it worked because everyone was coming from their true place of comfort and expertise. I can only take credit in that I was smart enough to put it all together and from there I let everyone just do their thing. I listened to my own intuition, and it worked. JI: Can you talk about what you have been up to the past year and what you have planned going forward?
I had never performed in New York and I had never met the musicians before. So we did some recording. It was produced by John Ballard and Joel Chriss. So that is a major focus of mine at this time. JI: Are there any challenges that make it difficult at times?
JR: Well, a musical life is certainly challenging regarding the business end of things. There are the logistics of planning dates, hiring musicians, traveling, and organizing everything. As I said before, I certainly do hope to have someone else do that one day. That would be a dream come true because then I could just focus on the music.
I never forget what a privilege it is to bring music to people; to sing songs that are beautiful; to be inspired by great musicians; to see people so happy. When it is challenging, and at times it can be quite so, I just have to remind myself of that.
And I know that I am privileged to be doing this kind of work. JI: What are your plans for the future? JR: I have ideas for other CDs. I would definitely like to produce one myself again. Maybe next year I will be able to do that again. I have played with him a few times. The first time was actually at the fantastic Jazz Improv Live. Convention last year. He is really great. Also, for the first time I will be working with his brother, drummer Quincy Davis, and Vincente Archer on bass.
I have heard many great things about them. I am also really looking forward to working at The Kitano venue as I have heard only the most positive things about it from everyone who has worked there.
I know that it is an intimate spot. Small rooms are very special in that you can connect so easily to your audience. New Yorkers make up the greatest audiences. They made me feel so welcome the first time I sang there. Visit Jackie at www. AM: By far my most wonderful blessing was to get a call from Jimmy Heath to sing for him with the Queens Jazz Orchestra which was encouragement to the soul.
He is a master and beautiful, spiritual man. I learned why the musicians love him so. We were thrilled to have Laurence Fishburne to hang out for our entire set! He offered great praise and encouragement. Todd Barkin was cool as all get out. I was fortunate enough to perform with Winard Harper and his excellent group featuring Dr.
My thanks to all who came out to pack the place. All of our events were filled with old friends and new music lovers. It was an awesome feeling in the house. The people hollered and so did we!
Wow, what a night! I will be doing Jazzmobile for the first time this summer. Vernon at City Hall. There will be a group from — pm and Junior Mance from to 8pm. There will be a tribute to Junior Mance that evening.
Jazzmobile moves to Brooklyn on July 24th and for the first time, it comes to my city of birth, Newark, New Jersey. Earl May wanted it and it is happening. I will be working one of the events on August 7th in Newark.
I am looking forward to being at the Kitano on August 20th. An upcoming highlight? I hear they treat their artists beautifully. For the future, I am preparing for my next recording, Behind the Smile. JI: How has life been for you as an independent artist since your last release? AM: Amazing. I feel I am still working on becoming a better musician studying piano with Mike Longo and voice with Jim Carson.
I am learning and maintaining relationships with our masters of music while they are here to learn from. I am looking for great booking agents who have integrity and a good Rolodex. How has life been for me as an independent artist since the last release? Humbling, eye-opening, busy, with small quiet moments that I am learning to appreciate, joyful, painful, encouraging and disappointing.
The full spectrum of emotions and growth. Now is a time for re-inventing myself spiritually, physically, and emotionally. You never know from whom you will be getting lift and support. It has taught me to keep my head down and make a fan a friend, keep my spirits up, and go straight ahead.
Visit Antoinette at www. Could you comment on how your own independent path has helped or hindered your music and opportunity in light of the aforementioned realities.
I work in so many different musical situations. I honestly try to learn something from every situation and every single gig that I do and I try to work on some aspect of my singing and performing within every framework, good or not so good. I also try to listen to things that older players impart because they have a lot to say about the business and I understand how much you learn by hanging in there for decades.
Survival tools are imperative. All this has been crucial in maintaining my work ethic in my own career growth. JI: Self-consciousness can be the enemy of creativity.
Generally, the smaller the audience, the more exposed you are. So, the more you perform in specific situations the less anxiety there is for that situation.
Getting too comfortable presents its own set of challenges. JI: In addition to your involvement in music, what other activities help provide balance in your life? But working with animals is very grounding for me. So, balance and staying centered is really important to the longevity of anything and everything I want to continue to do. Visit Amanda at www. Lubarsky Article Every jazz musician who has stepped foot on European soil has heard about Claude Nobs; founder and producer of the Montreux Jazz Festival.
Claude is an amazing individual who through sheer force, determination, love, and belief in the music has created one of the greatest festivals to ever exist. This year marks the 42nd annual, and the program is exciting as ever. All Jones knew was that he had to be in the audience on the night of July 14th. He would go on to profess that the show had more sentimental value than anything anyone has ever done for him.
Claude was able to pull together quite an allstar list of names and faces—many of which have been closely associated with Quincy. It was a starstudded 5 hours to say the least. These two men, Claude and Quincy, have an undying reverence and respect for the music and their friendship has forged the ability to create incomparable musical experiences.
The following evening, a statue of Quincy was unveiled in the Garden of Greats located along the promenade of Lake Geneva. This is what prompted them to join the efforts of the Jazz Foundation of America. Claude is the first festival producer to ever bring attention to the work of the JFA. Along with Quincy, Wendy Oxenhorn, executive director of the JFA, presented Claude with a lifetime achievement award for his continuing contributions to the world of Jazz and for his committed support to the foundation.
The European festival circuit, with Montreux being the grand-daddy, has been an invaluable opportunity for jazz and its practitioners to stay strong year after year. For more information go to www. ADVERTISE Reach tens of thousands of educators, students, musicians, hobbyists - before, during and after practice, lessons, rehearsals and performances, in multiple media, non-stop all year! The big band has been his ensemble of choice for many years, and he is amply equipped to excel and deliver highly polished arrangements.
Over the years Berger has transcribed more than Ellington and Strayhorn big band arrrangements. This new album, I Had The Craziest Dream — The Music of Harry Warren, finds Berger plying his wares, his ample arranging skills, in the context of an eight piece group, a smaller big band with rhythm section, three saxes, trumpet and trombone. The ensembles sound full and rich. The tempo is brisk. The band is in sync, and the track sets the quality standard that permeates the album. Harry Allen takes the first solo.
Temperley is up next on baritone sax and continues the driving energy. Allen turns in another beautiful tenor solo. Hong is much more hgeavily steeped in the beop and post bop traditions, and his solo is both swinging and a tour de force for his ample technique. The tempo is a slow swinging groove, with a backbeat.
The horns lock in, driving even the simplest quarter-note-on-the-beat types of phrases. Gilkes reruns for an extended run toward the endof the piece for a sweet romp through a series of turnaround changes. The ensemble pecks away with syncopated figures through the arrangement. Jimmy Madison anchors the time throughout the album. His contributions on this piece are representative of thekind of impeccable time-keeping, and tasty fills that he delivers to drive the band.
As an aside, it sounds like the sound of the recording, the way it was recorded, tried to capture the kind of live in the studio sound that is reminiscent of the s. The woodwind and brass combination is a refreshing change from the first several tracks. Here, Allen, Temperley, Gilkes and Ayala each get a chance to solo on this relaxed piece. Berger is a skilled arranger, who has put together a group of fantastic personalities to perform a wonderful set of expert arrangements, full of dancing solos, and a driving rhythm section to make the arrangements sing.
By Clive Griffin Among the noteworthy aspects of Into The World, A Musical Offering, this newest recording by flutist Andrea Brachfeld is the consistently stellar level of performance and musicianship from the first note until the final moments of the album. Needless to say, this is no surprise. What else would you expect from someone with talent, whose commitment has been to practice and study constantly, and stay on the path to hone her artistry for more than 20 years?.
You really have to count this one carefully. There are some odd meters. Both Quaranta and Brachfeld turn in impressive solos. Brachfeld demonstrates commanding technique. She more than floats above the rhythm section. She weaves in and out, and above and below. Brachfeld features a choir of voices. The piece moves into a gentle jazz waltz kind of groove, as the piece develops. The rhythm section swings. It climaxes with drummer Lopez soloing energetically over an ostinato motif that the rhythm section uses to punctuate and build intensity for a couple of minutes.
She knows exactly what to use when and where—the mark of a sensitive, mature artist and improviser. His skills as both a pianist and a composer are on full display on each and every tune. Neither disappoints. He and his trio play in the modern, postbop style that captured my heart as soon as I heard it. The tune is bluesy but energetic. Elmer and Tanaka take impressive solos, followed by a spirited round of trading between Elmer and Okudaira.
The groove is relaxed and comfortable. The tempo is mediumup and the melody is bop-flavored. The tune is set in a medium tempo with a loping swing feel. The band swings hard throughout and each member is featured in an extended solo as well as shorter traded solos. This tune also makes use of bass pedals.
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