Saturday, May 31, 2008
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(Born May 13, 1927 in New York, NY;
Died May 25, 2008, in Los Angeles, CA)
Just became aware that top-class trombonist Chauncey Welsch passed away some days ago. Although admired by fellow musicians and producers, Chauncey, that was a first-call session player for over 5o decades, never received a small percent of the degree of public recognition he deserved. He was another "invisible" musician for the public's eyes.
Curiously, I first became familiar with his name through Milton Nascimento's "Courage" album, recorded for A&M/CTI in 1968. And the second LP I got with Chauncey's name on the credits was Quincy Jones' "Sounds... and Stuff Like That!!" from 1978.
Coincidentally, I have included tracks from both albums in two best-selling CD compilations that Arnaldo DeSouteiro have produced for the Verve Music Group: "A Trip To Brazil: Bossa & Beyond" (1999) and "Summer in the City: The Soul Jazz Grooves of Quincy Jones". Of course, Chauncey's is credited on both releases.
I never had the honor to meet him in person, but I watched Chauncey's performing on a LaserDisc by Linda Ronstadt: "What's New - In Concert with Nelson Riddle and His Orchestra", filmed live in Santa Barbara for a TV special broadcasted on HBO and later released on LD (but not yet available on DVD...what are you waiting, folks? It's an unique chance to see and listen to Cahuncey's velvety trombone playing some lovely (although short) solos.
During his career, he also appeared on albums by Tony Bennett, Coleman Hawkins, Benny Goodman, Cab Calloway, Glenn Miller Orchestra, Lena Horne, Joe Newman, Morgana King, Les Brown, Caterina Valente, Dinah Washington, Perry Como, Ruth Brown, Peggy Lee, Steve Lawrence, Carmen McRae, Dean Martin, Tito Puente, Dr. John, Rosemary Clooney, John Pizzarelli, Diane Schuur, Michael Franks, and the Manhattan Transfer group, among countless others.
Chauncey Welsch was also part of Urbie Green's "21 Trombones" project and took part in pop sessions with Barry Manilow, r&b dates with Ashford & Simpson etc.
This week I got a new Japanese CD reissue (in Mini LP gatefold format, on HM-CD) of Wes Montgomery's "Movin' Wes" album. It's part of the "Wes Montgomery by Special Requests" series that Verve will be releasing in Japan on June 18. "Movin' Wes" was the guitarists' debut on the Verve label, produced in 1964 by Creed Taylor with Bobby Scott on piano and arrangements by Johnny Pate. One of the tracks is Durval Ferreira/Lula Freire's "Moça Flor". Guess who is in the trombone section, alongside Urbie Green, Jimmy Cleveland and Quentin Jackson? Yes, Chauncey Welsch! Rest in Peace.
And it's on pre-order sale at the famous NY store Barnes & Noble!
This new compilation includes tracks produced by Arnaldo DeSouteiro
Raul de Souza: "À Vontade Mesmo" (RCA) 1964
(1980 Japanese LP reissue)
Featuring Cesar Camargo Mariano, Humberto Clayber and Airto Moreira
Flora Purim: "Flora" (RCA) 1967
Side A: Barquinho de Papel/Jeito Bom de Sofrer
Side B: Preciso Aprender A Ser Só/Gente
Featuring: Luiz Eça, Rosinha de Valença, Dom Um Romão, Manuel Gusmão et al.
(tracks reissued in the first official CD release of "Flora é M.P.M.", produced by Arnaldo DeSouteiro for BMG in 2001 and released worldwide)
Friday, May 30, 2008
Music By Mail - New arrivals - [ Traduzir esta página ]
... Fabio Fonseca Trio: Opus Samba. ... Opus Samba also delivers funk, jazz, fusion, thanks to the great rhythm ...www.musicbymail.dk/cds/new.htm - 259k -
Fabio Fonseca Trio: Opus Samba. Jazz Station Records. Fabio's playing Hammond, clavinet D6, ARP Omni, Sequential Pro-One synth and Fender Rhodes; although he vocalizes just a bit, the main focus here is on his soaring keyboard lines and on the nostalgic 70's! Opus Samba also delivers funk, jazz, fusion, thanks to the great rhythm section of Pedro Leão on electric bass and Mac William on drums as well as a few guests.
Stanley Turrentine: Return Of The Prodigal Son. Blue Note. On CD for the first time are two 1967 tentet sessions by Stanley Turrentine, soulfully arranged by Duke Pearson with the locked-in rhythm section of McCoy Tyner, Bob Cranshaw & Ray Lucas. Seven of the ten selections have been previously issued in the LPs but they are now brought together in complete form here, totaling 59 minutes. Turrentine's soulful tenor sax is the prime voice throughout this program of hip bossa novas, blues, standards and pop tunes. His reading of Aretha Franklin's "Dr. Feelgood" (heard here in two takes) is an absolute killer.
Fabio Fonseca: "Fabio Fonseca" (WEA) 1988
The forgotten (and never reissued) debut solo album by one of Brazil's top arrangers, keyboardists and producers.
Featuring: Marcio Montarroyos, Armando Marçal, Marcos Lobato, Leo Gandelman, Nacho Mena, Liminha, Herbert Vianna, Serginho Trombone, co-producer João Barone, strings arranger Eduardo Souto Neto, Bidinho, Don Harris, Paul Lieberman (who used to play with Flora & Airto but decided to make Rio his home and later gave up his musical career), Zé Carlos Bigorna, Marcio Mallard, famous strings concertmaster Giancarlo Pareschi, the late Paschoal Perrota and dozens of other Rio studio cats.
Ari Borger Quartet: "AB4" (ST2) 2007
Leading Marcos Klis (bass), Humberto Zigler (drums) and Mauricio Perdormo (guitar), plus some other guests as guitarist Nuno Mindelis (my former colleague at Varig Airlines), keybaordist Ari Borger uses Steinway D acoustic piano, Hammond organ (models B3 and A101), Fender Rhodes and clavinet on his second date as a leader.
Besides such Borger's originals as "Tributo a Oscar Peterson", "Acid Groove" and "Nem Vem, Miles" (which mixes Miles Davis and Carlos Imperial by including quotes of "So What?" and "Nem Vem Que Não Tem"), there are insteresting versions of Horace Silver's classic "Señor Blues", Thelonious Monk's anthem "Blue Monk" and Herbie Hancock's "Blind Man".
Eumir Deodato: "Theme from Star Trek/I Shot the Sheriff" (CBS-Sugar) 1976
Alexander Courage's epic "Theme from Star Trek" was covered by Deodato on the "Very Together" album. A radio-edited version (with 3m17s) released as a single became both a minor radio and dance hit in some European countries. The complete LP version is included in the 2007 CD compilation "Do It Again: The Fantastic Jazz-Funk of Eumir Deodato", which Arnaldo DeSouteiro produced for the Verve Music Group.
born Dec. 10, 1919, in Philadelphia, USA
died May 15, 2008 in Pacific Palisades, CA, USA
Alexander 'Sandy' Courage, 88; Composer Wrote 'Star Trek' Theme
by Dennis McLellan
Los Angeles Times, May 30, 2008
Alexander "Sandy" Courage, who composed the soaring theme for the "Star Trek" TV series in the 1960s and was an Emmy Award-winning, Oscar-nominated arranger, has died. He was 88. Courage, who had been in declining health since 2005, died May 15 at an assisted-living facility in Pacific Palisades, said his step-daughter, Renata Pompelli.
After launching his 54-year career as a composer for CBS Radio in 1946, Courage became an orchestrator and arranger at MGM in 1948. Over the next dozen years, he worked on a string of classic musicals, including "Annie Get Your Gun," "Show Boat," "The Band Wagon," "Seven Brides for Seven Brothers" and "Gigi." He later was an orchestrator for musicals including "My Fair Lady," "Hello, Dolly!," "Doctor Dolittle" and "Fiddler on the Roof" -- as well as for films including "The Poseidon Adventure," "Jurassic Park," "Basic Instinct," "Hook" and "The Mummy."
"He made a very big contribution to the musical life of Hollywood from the end of the second World War to recent years," Oscar-winning composer John Williams told The Times on Thursday. "He was known to most musicians in the community as having been one of the architects of what we used to refer to as the MGM sound, which meant that most of the musical films from MGM had a particular style of orchestration, which was an extension and development of what was done in the theater in the 1920s," Williams said. "They actually took that to a very high art form, particularly in the musicals produced by Arthur Freed."
Composer Ian Fraser, who met Courage after he had moved to 20th Century Fox in the '60s, said Thursday that Courage's "knowledge of all the genres of music was really monumental."
"He was part of the wonderful music department at 20th Century Fox," Fraser said. "With the passing of [composer] Earle Hagen this week, the last of that group are gone, never to be replaced." In the late '50s, Courage scored nearly a dozen films, including director Arthur Penn's western "The Left Handed Gun" and Andre de Toth's western "Day of the Outlaw" -- as well as "Shake, Rattle and Rock!" and "Hot Rod Rumble."
He began composing for television in 1959 and wrote music for more than 350 episodes of series that included "The Untouchables," "Laramie," "Daniel Boone," "Judd for the Defense," "Lost in Space," "Land of the Giants," "The Waltons," "Eight Is Enough," "Falcon Crest," "Flamingo Road" and many others.
Then there was "Star Trek," the legendary science-fiction series that ran on NBC from 1966 to 1969.
Courage was no science-fiction fan when "Star Trek" creator Gene Roddenberry asked him to score the pilot episode in 1965. "I never have been" a sci-fi fan, Courage later told film music historian Jon Burlingame. But I thought, 'Well, what the heck. It's another show.'" Roddenberry, Courage recalled, said he didn't want the show's score to sound like "space music," nothing "far out."
"He wanted something that had some... drive to it," Courage recalled. "In fact, he told me to always write that way through the show, all of it."
The eight-note brass fanfare that Courage wrote to herald the starship Enterprise became one of the most familiar musical signatures in TV history. "I'd argue that it's the most famous fanfare in the world," Burlingame, who teaches film music history at USC, said Thursday. "It's been around 42 years -- and it's all around the world -- and when you hear those eight notes you immediately think of the Enterprise," he said.
Courage shared an Emmy in 1988 as a principal arranger for the ABC special "Julie Andrews: The Sound of Christmas." He also shared Oscar nominations with Lionel Newman for their adaptation scores for "The Pleasure Seekers" in 1966 and "Doctor Dolittle" in 1968.
Courage was born Dec. 10, 1919, in Philadelphia and moved to New Jersey as a boy. He began playing the piano when he was 5 and later played the cornet and horn. A 1941 graduate of the Eastman School of Music in Rochester, N.Y., he enlisted in the Army Air Forces in January 1942 and served as a band leader on bases in California and Arizona.
Courage, who was one of the founders of the Composers and Lyricists Guild of America, also was an award-winning photographer whose pictures appeared in Life, Collier's and other magazines.
His third wife, the former Shirley Pumpelly, died in 2005.
In addition to Renata Pompelli, he is survived by his other stepchildren, Raphael Pumpelly, Andrea Steyn, Lisa Pompelli; and six grandchildren. A memorial service is pending.
Tradução Simultânea, 07:52, Fabio Fonseca Trio, $ 5,99* ... copie para um aparelho portátil ou grave em CD, segundo as regras de uso especificadas. ...
Downloads and ringtones from Fabio Fonseca's album "Opus Samba", produced by Arnaldo DeSouteiro for JSR, are now available at Claro Music Store. Just click on the above link.
CD of the Day
"Psychedelic Jazz: The Best Mindblowing Spaced-Out Jazz Grooves" (Verve JazzClub) 2008
Compiled by Götz Bühler, Felix Jobst & Stephan Steigleder
My personal favorite tracks: Gabor Szabo's creative reading of "Summertime" and the original version of his own "Mizrab" from the 1966 "Jazz Raga" LP for Impulse! on which he played both electric guitar and sitar, backed by Johnny Gregg on bass and Bernard Purdie on drums (later on he would re-record "Mizrab" as the title track of his CTI debut album in 1972 with Ron Carter and Billy Cobham).
Speaking of guitarists, Larry Coryell almost steals the show on Don Sebesky's "Guru-Vin" from the yet to be reissued on CD "The Distant Galaxy" (Verve), a longtime Mojo club favorite and a dancefloor-jazz anthem.
There's also Pierre Henry & Michel Colombier's "Psyche Rock", Dorothy Ashby's "The Moving Finger", Jimmy Smith's "Burning Spear" (arranged by Oliver Nelson with Carol Kaye on bass and Grady Tate on drums), Dave Pike's "Mathar" and Roy Ayers' "The Fuzz".
available at www.dustygroove.com
That's what they say:
"Psychedelic Jazz galore -- a wonderful look at the hip blend of funky grooves and tripped-out production that emerged at the end of the 60s! The sounds here are every bit as amazing now as they were a few decades back -- a genre-busting blend of electric instrumentation, chunky rhythms, and weird techniques -- all mixing up elements from soul, funk, rock, Latin, and other sources into a really unique sort of groove! The work here is both from the US and overseas -- pulled from Universal-owned labels like MPS, Chess, and Philips -- and the package does a great job of mixing key examples of the genre with some other under-reissued gems. 16 tracks in all -- including "The Squire" by Mike Nock, "The Fuzz" by Roy Ayers, "Burning Spear" by Jimmy Smith, "Summertime" by Gabor Szabo, "Zoom" by Volker Kriegel, "Uwiii" by Wolfgang Dauner, "The Moving Finger" by Dorothy Ashby, "Big Family" by Free Orbit, "Love Me" by Johnny Teupen, "Ganges Delta" by Okko, "Misty Purple" by Kuhn Brothers & The Mad Rockers, "Guru-Vin" by Don Sebesky, and "Season Of The Witch" by Julie Driscoll & Brian Auger." ©Dusty Groove America, Inc.
"Tempos Diferentes", the brilliant Nelson Angelo compilation released by Dubas (including tracks produced by Arnaldo DeSouteiro) is now available in the USA through the great Dusty Groove store. You can visit the shop in Chicago or other the album through the link below:
That's what the guys at DustyGroove say about the CD:
Incredible work from Brazilian guitarist and composer Nelson Angelo -- a set of beautifully complicated tunes that almost puts him in the same territory as Moacir Santos or Edu Lobo! Like Santos and Lobo, there's an approach to the music here that's quite personal and unique -- modes that possibly draw from the changes of bossa nova, but which extrapolate its ideals into rich new territory -- amazing tones and colors that emerge with almost effortless ease, and which have some sharper edges and darker qualities lurking right below the surface. The collection brings together work from Angelo's albums of the late 80s and 1990s -- and also includes a previously unreleased tune too. Nelso plays guitar, and sings a bit too -- but the main focus of the record is instrumental, as voices are often used almost in a wordless way. Titles include "O Caminho E A Paisagem", "Manha No Planeta", "Estacao Confrades", "Recife", "Coisas De Balada", "The Red Blouse", "Lullaby Of Birdland", and "Trombone". © 2008, Dusty Groove America, Inc.
Born: Walter Santos Souza on September 9, 1939, in Senhor do Bonfim, Bahia, Brazil
Died: May 29, 2008, in Sao Paulo, SP, Brazil
ARTS / MUSIC May 29, 2008, NY Times
David Gahr, Photographer of Musicians, Dies at 85
By BRUCE WEBER Mr. Gahr turned his back on a promising career as a scholar and landed among the pre-eminent photographers of American folk, blues, jazz and rock musicians.
Thursday, May 29, 2008
Antoinette Montague with the Bill Easley Quartet
Friday & Saturday, May 30 & 31, 2008
Jazz Safari Party
at the historic Lenox Lounge - Zebra Room
288 Lenox Ave • Malcolm X Boulevard • 124th & 125th St. NYC
(Elegant animal print party wear optional)
Three sets 8:30 pm, 10:20 pm & 11:30 pm
Tickets: $20 plus 2 drink minimum (Reservations are recommended)
The Lenox Lounge
The historic Lenox Lounge has been in the Harlem community since 1939, serving as the back drop for many jazz legends such as Billie Holiday, Miles Davis, and John Coltrane. The Jazz Club also known as the Zebra Room was once used by the Harlem Renaissance writes James Baldwin and Langston Hughes. It was also said to be a hangout for Malcolm X. The Lenox Lounge has been featured in magazines, music videos, photo shoots, and motion pictures. In 1999 it underwent a costly restoration process to bring it back to its original splendor. The Lenox Lounge was voted "Best of the Best" by the 2002 Zagat Survey Nightlife Guide and by the 2001 New York Magazine.
Born and raised in Newark, Antoinette Montague may have just released her first CD, "Pretty Blues" but she has had many invaluable musical experiences. She worked in gospel and R and B ensembles after college, serves as the vice president of the International Women in Jazz, and considers Carrie Smith, Etta Jones, Della Griffin and Myrna Lake to be her mentors. Antoinette has worked extensively in the New York area during the past decade with such musicians as Red Holloway, Benny Powell, Bill Easley, Winard Harper, Wycliffe Gordon, Frank Weiss, Dr. Billy Taylor, the Duke Ellington Orchestra and Mike Longo's New York State of the Arts Orchestra.
Antoinette's recent appearances include Dizzy's Club Coca Cola at Jazz at Lincoln Center, Starry Nights Jazz at the Rose Center at the American Museum of Natural History, the inaugural concert of the Flushing Town Hall Queens Jazz Orchestra, under director Jimmy Heath and the legendary Blue Note.
"She has a powerful voice, the ability to hold long notes without wavering, and a knack for making every song sound bluesy. Antoinette Montague's delivery is heartfelt, infectious and memorable."
— Scott Yanow, Los Angeles Jazz Scene
Recording and releasing "Pretty Blues" on the Consolidated Artists label raised her profile and has given her fame beyond the East Coast. On this highly enjoyable CD, Antoinette Montague is featured belting out blues, interpreting sensitive ballads, combining passion and sophistication, and making every song sound fresh, infectious and topical.
"Whether the genre is blues, rhythm & blues, or hard bop, Bill Easley remains a versatile and often silent practician of musical mastery. . .Easley has certainly perfected his craft." — All About Jazz
A brilliant and versatile reed player, Bill Easley performs equally forcefully on alto, tenor, and baritone saxes as well as flute, piccolo, and clarinet. Easley is a renowned session player who has worked with Isaac Hayes and done sessions at Stax. He has performed with the Duke Ellington Orchestra, Benny Carter, George Benson, Jimmy Smith, Ruth Brown, Bill Mobley, Victor Gaskin, Mulgrew Miller, Ron Carter, and Grady Tate, among others. Bill Easley has also recorded highly acclaimed sessions as a leader on the Sunnyside, Milestone, and Evidence labels. His latest release is "Business Man's Bounce" on the 18th and Vine Records label.
By STEVE SMITH
Universal Classics and Jazz, the worldwide market leader inclassical CD sales, announced on Wednesday the formation ofUniversal Music Classical Artists Management andProductions.
Mario Castro-Neves & His Orchestra: "Brazilian Mood" (Decca/Dutton Vocalion CDSML 8443)
"Brazilian Mood" marked the British recording debut of Rio de Janeiro-born composer, arranger, conductor and keyboardist Mario Castro-Neves. Originally produced in 1973 by Franklyn Boyd for Decca's 'Phase 4' series of quadraphonic recordings, it features a band consisting of a stellar cast of UK session musicians plus, on some tracks, a chorus including the sublime vocals of Norma Winstone.
By the time of this recording, Mario - brother of Oscar, Leo and IKo Castro-Neves – was already established as one of Brazil's leading musical talents. In the 1960s he had recorded the legendary "Mario Castro-Neves & Samba S.A." for RCA's Brazilian division (its CD reissue was produced by Arnaldo DeSouteiro for BMG in 2001, adding four previously unreleased bonus tracks) and had scored music for various Brazilian films and TV series. He attended the country’s prestigious music conservatory - Seminários de Música Pro-Arte - where he studied arranging and composition.
In "Brazilian Mood" Mario brings all his experience and expertise to bear, crafting an album of up-to-date, '70s style Latin American music that's full of vitality, pulsing rhythms and modern instrumentation including electric bass, electric guitar, xylophone (instead of the most usual vibes), percussion and acoustic piano (played by Mario himself) plus trombones, baritone sax, bass clarinet, violas and cellos (no violins!) Seven of the ten tracks are by Castro-Neves and range from the funky, infectious groove of "Xaxado Blues" to the touching charm of "Helena and I" and "The Whole Mess", two songs he eventually would re-record in 2004 for his acclaimed "On A Clear Bossa Day" CD, produced by Arnaldo DeSouteiro for the JSR label.
The lovely bossa-ballad "Hold My Hand" was co-written by Mario and his wife in London at that time, Helena Castro-Neves (born Helena Valladares, former wife of Fernando Sabino and daughter of Benedicto Valladares, who had been Governor of the Minas Gerais State.) Helena also inspired the album highlight, "Helena and I", a track included on the 2-CD set compilation "A Trip To Brazil Vol.2: Bossa & Beyond", produced by Arnaldo DeSouteiro for EmArcy Records/Universal in 1999.
Mario also comes up with beautiful, modern Latin arrangements of tunes by Michel Legrand & Norman Gimbel (Watch What Happens), Burt Bacharach & Hal David (The Look of Love) and Antonio Carlos Jobim (Wave). As well as displaying Mario Castro-Neves musical gifts, "Brazilian Mood" is an excellent example of how by the 1970s bossa-jazz-influenced Brazilian music had reached new levels of extraordinary sophistication becoming "universal music".
As Arnaldo DeSouteiro wrote in 2004 in the liner notes for "On A Clear Bossa Day":
"Firstly, “2004 Thanks” to the legendary Brazilian music historian and radio DJ, Simon Khoury, for introducing me to Mario Castro-Neves’ artistry, back in 1973, through Castro-Neves’ “Brazilian Mood” LP. His superb orchestrations on that masterpiece album would be enough to place Mario Castro-Neves among the best arrangers in the music history, alongside Sebesky, Ogerman, Mancini, Legrand, Schifrin, Mandel, Gil Evans, Deodato and Gaya. It is a privilege and a great honor to work with him! Mr. Khoury used to give airplay, at JB-AM radio station, to such songs as “Helena And I” and “The Whole Mess” (both from “Brazilian Mood”). I could never dream that, thirty years later, I would produce new versions of these gorgeous tunes".
Featuring: Cesar Camargo Mariano, Humberto Clayber and Airto Moreira.
Lennie Dale's second album as a "singer", it was produced by Aloysio de Oliveira in studio after a long engagement of Lennie with the São Paulo-based Sambalanço Trio at the "Zum Zum" nightclub in Rio. Previously reissued only on vinyl format (back in 1994 by the Japanese label Lexington on its "New Balanço" series supervised by Minoru Wakasugi), includes superb renditions of "The Lady is a Tramp", "O Pato" and "That Old Black Magic".
Djalma Ferreira: "Help Yourself to the Brazilliance of Djalma" (Dot/Universal KK 3088)
Recorded in 1968, it's the best album recorded by Brazilian organ player Djalma Ferreira (Rio 1913-LA 2004) in the USA, for Paramount's subsidiary label Dot Records (Luiz Bonfá and Lalo Schifrin were also under contract to Dot by that time). Nowadays, the late Djalma is best remembered as the composer of the bossa nova standard "Recado Bossa Nova", recorded by many jazzmen like Zoot Sims, Al Cohn, Hank Mobley, Tito Puente, Laurindo Almeida, Mel Tormé, Marty Paich and The Hi-Lo's in the 60s and most recently revisited by Ithamara Koorax ("Wave 2001"), Manhattan Jazz Quintet ("MJQ Plays Blue Note") and Paula Faour ("Cool Bossa Struttin'"). A close friend of Djalma, Laurindo also recorded "Foi A Saudade" on his "Collaboration" album with the Modern Jazz Quartet for the Atlantic label. And Djalma appeared as special guest, along with Fafá Lemos, on Laurindo Almeida's Grammy-winning album "Guitar of Ipanema" (Capitol), which includes Djalma's "Izabella".
"Recado" is included on this Dot album, along with Neal Hefti's "The Odd Couple" plus "Help Yourself", "Where Is Love?", "Soul Limbo", "Cabo Frio", "Pulpa De Tamarindo", "Zorba", "Second Hand Rose" and "Lamento".
Btw, Djalma Ferreira was the real pioneer of "independent releases" in Brazil, when, in the late 50s, he founded his own Drink label (Drink was also the name of the nightclub he owned in Rio de Janeiro) to release his albums.
You can pre-order it at Amazon:
(b: 26.Apr.1914, Leamington Spa, Warwickshire/England; d: 16.May 2008, Scrayingham, North Yorkshire/England)
The British composer and musicologist Wilfrid Mellers died May 16th at the age of 94. Mellers had been teaching since the 1940s and always was most interested in what he called "living art", something to which he counted Bach and Beethoven, Debussy and Stravinsky, but also folk music and jazz -- an aesthetic attitude which is reflected in both his compositions and his publications. Obituary: Independent, Guardian.
Wednesday, May 28, 2008
This Saturday, May 31st, maverick composer-philosopher Henry Flynt will play his first show in the States in 25 years, performing with Libby Flynt as the Flynts, along with Blues Control who open the night! We've one pair of tickets up for grabs. To enter, email firstname.lastname@example.org. They'll be notifying the winner this Friday morning.
SATURDAY, MAY 31
GLASSLANDS: 289 Kent Avenue
Died on May 24, 2008 in New Jersey, USA
One of my personal favorite Hammond players (and, surely, one of the world's best organists in the jazz history), Jimmy McGriff passed away.
Two obituaries (one in German and the other from the NY Times) follow.
I'll pay my tribute to him by listening to my big archive of McGriff's albums, which includes rare dates with Fats Theus and the complete collection of his sessions that Bob Porter produced for Milestone. Many of them paired Jimmy with Hank Crawford on such albums as "Soul Survivors", recorded at the Van Gelder Studio in 1986 featuring George Benson (on a soulful take of Tony Bennett's hit "Because of You"), Mel Lewis (on "Frim Fram Sauce"), Bernard Purdie (groovin' like no one else on Neal Hefti's "After Supper") and Jim Pittsburgh on "One Mint Julep".
It's also a joy to watch Jimmy McGriff performing on the all-star "Rhythmstick" session for Creed Taylor, filmed live at Van Gelder's in 1989 and released in 1990 on LaserDisc, VHS and CD by CTI, but not yet issued on DVD.
Jimmy McGriff gestorben
Laurence Hammond war ein Tüftler. Sein Ziel war eine elektrische Orgel, endlich unabhängig vom Gebläse der Kirchenorgel, die sich mit künstlerischer Tonerzeugung möglichst umfangreich sollte einsetzen lassen. Anno 1934 stellte er das erste Exemplar seiner Hammondorgel vor und schon rund zwei Jahrzehnte später trat das Instrument seinen Siegeszug jenseits der Gotteshäuser und Gospelmessen durch die damals populäre Musik an.
Der Pionier des Ungetüms im Jazz war Jimmy Smith, sein Pendant auf der deutlich mehr durch Blues und Soul geprägten Seite Jimmy McGriff. Geboren am 3. April 1936 in Philadelphia, hatte er als Kind zunächst Klavier gelernt, später dann die verschiedensten Instrumente gelernt, spielte unter anderem Bass und begann schließlich im Anschluss auf seine Militärzeit 1956, sich für die Hammond Orgel zu interessieren. Dabei ging es mehr als um ein Hobby, McGriff studierte unter anderem an der Juilliard School und ging auch bei Meister Jimmy Smith selbst in die Lehre.
Der Erfolg ließ nicht lange auf sich warten. Bereits 1962 schaffte er den Sprung in die Top 20 der US- Hitparaden, mit seiner Hammond-Version von Ray Charles "I Got A Woman". Von da an ging es zügig voran, mit zahlreichen eigenen Aufnahmen und, trotz technischer Neuerungen, weiterhin an den Tasten der Hammond. Er bildete eine feste Band mit dem Saxofonisten Hank Crawford, wahlweise auch mit Kollege Illinois Jacquet, oder reiste in der Gruppe von Buddy Rich durch die Lande. Jimmy McGriff war einer der maßgeblichen und vielgesampleten Initiatoren des Hammond-Comebacks in den Neunzigern und starb am 24.Mai in New Jersey im Alter von 72 Jahren.
Jimmy McGriff, Jazz and Blues Organist, Dies at 72
By BEN RATLIFF
Published: May 28, 2008
"Jimmy McGriff, who since the early 1960s was one of the most popular jazz and blues organists, died on Saturday in Voorhees, N.J. He was 72 and lived in Voorhees.
Like other jazz organists of his time, Mr. McGriff spent much of his career working in the clubs of the East Coast organ circuit, including the Golden Slipper in Newark, a club he owned in the early ’70s. He played jazz as dance music, whether it was music by Count Basie, Charlie Parker, Ray Charles or James Brown. Over swing, shuffle and funk rhythms, he played in a focused blues language that built gospel-like intensity through his solos.
Mr. McGriff was born in the Germantown neighborhood of Philadelphia, which became a jazz organ mecca in the 1950s and ’60s. His father played piano, and Mr. McGriff learned it from an early age; he went on to play saxophone and bass before settling on the Hammond organ, which became a common instrument in small-group jazz instrument only in the mid-’50s, largely because of the example of another Philadelphian, Jimmy Smith.
During the Korean War, Mr. McGriff served as a military policeman; returning home, he spent more than two years on the Philadelphia police force. Encouraged by his friend Richard (Groove) Holmes, another Philadelphia organist, he took up the organ, playing around Philadelphia, sometimes with the tenor saxophonist Charles Earland, who himself switched over to the organ soon thereafter and became another one of that instrument’s great players.
His first hit, in 1961, was a 45-r.p.m. single of Ray Charles’s “I’ve Got a Woman,” a local jukebox success that was featured on the radio. It led to a full album for the Sue label; it also quickly led to another hit single, “All About My Girl.”
From the mid-’60s through the 1970s, his records were produced by Sonny Lester, on the Solid State, Blue Note and Groove Merchant labels; his own 1971 live album, “The Black Pearl,” as well as another with the blues singer Junior Parker, were recorded at his own club in Newark. He also played with Buddy Rich’s band for a stretch in the late ’60s and early ’70s.
In 1986 he started working regularly with the saxophonist Hank Crawford, making records and touring; he continued to record as a leader for the Milestone label and made his last recording in 2006, a live album done at the Manhattan jazz club Smoke. He stopped playing in 2007.
In addition to his wife, Margaret, Mr. McGriff is survived his mother, Beatrice, and brother, Henry, both of Philadelphia; his sisters, Jean Clark of Amherst, Va., and Beatrice Evans of Philadelphia; two children, Donald Kelly of Philadelphia and Holiday Hankerson of the Newark area; and five grandchildren. "
Tuesday, May 27, 2008
Lou Caputo, a native of Williamsburg, Brooklyn, has been a professional musician for over thirty years. He has done almost every kind of job that a musician can be asked to do. A multi-instrumentalist (saxophones, clarinets and flutes) he has performed in show bands with the likes of Lou Rawls, Frankie Valli, Shirley Basey, Jack Jones, Bobby Short, Frankie Avalon, and a host of others. As well as the many of the famous Motown acts like the Temptations and the Four Tops. Aside from this he has performed along side of Salsa legends like Candido, Bobby Sanabria and Lou Perez.
However, playing jazz is really closest to Lou’s heart. He has had the opportunity to perform with people like trumpeter Richard Williams, pianists Duke Jordon and Jaki Byard, drummers Walter Perkins and Mousey Alexander (in his short-lived big band), vocalist Joe “BeBop” Carroll and Dakota Staton, bassist Chris White (including a Carnegie Hall appearance). He has spent time in the Glen Miller band under the direction of Clem DeRosa as well as the Harry James Big Band. He has had the good fortune to record with jazz legend Dr. Billy Taylor on guitarist Ray Rivera’s album Night Wind.
Lou has had the pleasure of performing in the Richie Cole Octet. Another high point is playing Birdland with the Ellington Band under the direction of Paul Ellington and Jack Jeffers. Through the years Lou has appeared in many of the area’s leading jazz clubs as both a leader and side man. He also played for former President Bill Clinton on the occasion of Clinton’s 50th birthday.
Admission is 15.00, 10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.
Mahavishnu Orchestra: "Live at Montreux 1984/1974" (Eagle Vision/ST2) 2008
After many bootleg issues, at long last comes the official release of the two apperances by John McLaughlin's Mahavishnu Orchestra in Montreux.
It's a 2-DVD set including a booklet with excellent liner notes by Kevin Le Gendre, pics from both concerts and reproductions of the original posters of the 1974 and 1984 Festivals.
Both concerts are superb, but the 1974 one is very special, despite the fact that we only have two long tunes on video: "Wings of Karma" and "Hymn to Him". The other four titles ("Power of Love", "Smile of the Beyond", "Vision Is A Naked Sword" and "Sanctuary") appear only as audio tracks, since the video tapes had seriously deteriorated.
It's impossible to describe the huge level of energy, passion, virtuosism and musicianship that abounds on the '74 concert. Jan Hammer, Jerry Goodman, Billy Cobham and Rick Laird, the original line-up of the group, had disbanded. That second Mahavishnu incarnation featured Gayle Moran (Mrs. Chick Corea) on Fender Rhodes, Hammond organ and an array of analog synths; Jean-Luc Ponty on electric violin, using the wah-wah pedal to provide unbelievable grooves to the other soloists when he is not in the spotlight; Narada Michael Walden playing on a two-bassdrum set; and the underrated Ralph Armstrong (whom would later join Ponty's band, taking part of the landmark "Aurora" album in 76). Five months after the July '74 concert, the Mahavishnu would return to NY to cut the "Visions of the Emerald Beyond" LP at Electric Lady Studios in December 1974.
The ultra-dynamic unit, which continued to develop McLaughlin's sound as the epitome of the jazz-rock aesthetic, was complemented on stage by a string quartet (dressed with hippie clothes, but clean ones...) and a horn section consisting of three reedman capable to play multiple instruments such as saxophones, flutes, trumpets and trombones. Among them, the forgotten Bob Knapp, who also played percussion and had previously replaced Flora Purim during one of the early Return to Forever tours in Europe. Some audio problems happened on stage, specially on Moran's keyboards, but it's not a real "problem" in the process of savoring that special performance.
A completely different approach dominates the 1984 concert. The master musician had just reformed Mahavishnu one year earlier and was in love with the Synclavier guitar. Leading Danny Gottlieb (drums), Jonas Hellborg (bass), Mitchell Forman (keyboard) and Bill Evans (tenor & soprano saxophones), McLaughlin continues to amaze the audience with a combination of technique and emotion that only the frustrated purists are unable to feel. The repertoire includes "Radio-Activity", "Nostalgia" and the frenetic "East Side, West Side" that, suddenly, transforms itself into a radiant reading of "Isn't She Lovely?" after McLaughlin had already quoted twice the Stevie Wonder song during his improvisation.
Ironically, the audio quality of the 1984 concert sounds not so good as in the 1974 tracks, maybe to the excess of compression in the mix done last year, in Monaco, by McLaughlin himself.
Anyway, one of the best DVD releases for 2008!
"Friedrich Gulda at Birdland" (Decca/Universal) 2007
Reissue Produced by Robert Russ
77 minutes of Gulda live at the legendary Birdland jazz club on June 28 & 29, 1956.
The CD subtitle is "The Complete 1956 Birdland Sessions" since, for the first time on compact disc, we have the 16 tracks issued on both "At Birdland" (nine tunes) and "A Man of Letters" (seven).
An excellent 28-page booklet includes rare photos from the sessions plus reproductions of the original LP covers and their respective liner notes.
Leading a stellar ensemble - Phil Woods, Idrees Sulieman, Jimmy Cleveland, Seldon Powell, Aaron Bell and Nick Stabulas - Gulda performs many originals as well as his arrangements of "A Night in Tunisia" (played only by the rhythm section, without the horns), "Out of Nowhere", "Lullaby of Birdland", "Bernie's Tune" and "All The Things You Are".
Friedrich Guldas Jazzdebut "Live at Birdland" war in der Musikszene Europas 1958 ein unerhörter Skandal. Nicht von ungefähr hatte Guldas Plattenfirma DECCA Records zwei Jahre mit der Veröffentlichung des Mitschnitts gezögert. Denn das gab es damals nicht, dass ein "ernsthafter" klassischer Pianist im Jazzclub auftrat, das war undenkbar. Da änderte es nichts, dass die New Yorker Fachpresse nach zwei Wochen Birdland voll des Lobes für Gulda gewesen war. Oder dass er diesen Erfolg wenig später beim Newport Jazz Festival wiederholen konnte. Man machte eben entweder das Eine oder das Andere. Nun, dieses Schubladendenken konnte dem Wiener Jahrhundertpianisten zwar Steine in den Weg legen, doch aufhalten konnte es ihn nicht.
Heute ist Friedrich Guldas erster Auftritt mit seinem eigenen Jazz-Sextett, darunter so illustre Namen wie Idrees Sulieman, Jimmy Cleveland und Phil Woods, ein Dokument seiner überragenden pianistischen Multibegabung und seiner Suche nach Freiheit, musikalisch wie im Leben. Zum ersten Mal gibt es die beiden mitgeschnittenen Sessions vom 28. und 29. Juni 1956 in der richtigen Reihenfolge und auf einem Tonträger, zum ersten Mal wurde das gesamte Material liebevoll unter Verwendung der Originalbänder remastered. Fast die Hälfte der Stücke erleben ihre CD-Weltpremiere, es handelt sich um jene Titel, die von DECCA auf einer zweiten LP unter dem Titel "A Man of Letters" veröffentlicht wurden.
In den Jahren nach Live at Birdland maturierte Gulda zum die Verbindung suchenden "Wanderer zwischen Welten": Der klassische Meister bereicherte viele seiner großen Mozart- und Beethoven-Aufnahmen mit Stilmitteln, Swing und Lockerheit des Jazz. Der Jazzpianist, der den New Yorker Auftritt später einmal als "Gesellenstück" bezeichnete, entwickelte sich auch in dieser Musikform zu einem großen Könner. Gesellenstück, aber was für eines!
Monday, May 26, 2008
Chick explains, "It was a fantasy conjuring-up of this duel between the jester and the tyrant. The idea behind that is that you've got a tyrant who's making big bully sounds and grunting and charging at you, and you've got this jester who's a real lighthearted guy who's making a joke out of the whole thing."
"So, who do you think would win?" Corea concludes. "It would be the jester."
Hear "Duel of the Jester and the Tyrant," from 'Return To Forever: The Anthology (Concord), out May 27th, HERE, and see the band play it live this summer.
Find out more about the Return to Forever tour and VIP packages that provide exclusive opportunities to meet the band, go backstage or hear a sound check at Return2forever.com.
Un Homenaje Para Angá
The Jazz Gallery joins "Make Music New York" on Saturday, June 21st, 2008 from 1:00 PM - 7:00 PM with a major open-air concert, culminating a series of events held earlier in the week dedicated to Miguel Angá Diaz (1961 - 2006): Un Homenaje Para Angá.
Performances earlier in the week include
Sunday, June 15th: Pedro Martinez's ensemble "Iborru", featuring Dafnis Prieto on drums. Commemorating what would have been Angá's 47th birthday.
Thursday, June 19th: Flor Urrutia's "Timba Jazz Para Angá"
Friday, June 20th: Yosvany Terry's "Percussion Ensemble"
Saturday, June 21st's open-air concert on Dominick Street, adjacent to The Jazz Gallery will feature a series of performances by
Kwaku Martin Obeng -- An African Preamble
Gema y Pavel -- An Abundance of Folkloric Traditions
Yosvany Terry -- Afro-Cuban Roots Ensemble
Roy Hargrove -- Crisol, Explorations in Jazz Cubano
The closing track on Afreecanos, pianist Omar Sosa's 2008 recording for Otá Records, is titled "Why Angá?" It's a question many music lovers are still asking in the wake of the tragic and untimely death of Cuban percussion master Miguel "Angá" Díaz. Angá was felled by a heart attack at the age of 45 on August 12, 2006. But the legacy of his extraordinary conga playing and forward-thinking musical conception will live on forever.
For us at the Jazz Gallery, the question "Why Angá?" has another meaning as well. Recent days have also seen the passing of such Afro-Cuban music legends as Tata Güines, Carlos "Patato" Valdez and Ray Barretto. Yet between June 15th and June 21st, we will honor the far younger Angá Díaz with a special series of concerts we call "Un Homenaje Para Angá". The concert on the afternoon of June 21st will be held under the joint banner of the Gallery and Make Music New York, the annual citywide outdoor music festival.
Again, "Why Angá?"
Because Angá played here at the Jazz Gallery during his first-ever visit to the U.S. Because he enjoyed close friendships and associations with artists central to the Jazz Gallery's mission, including Chucho Valdés, Steve Coleman, Roy Hargrove and Dafnis Prieto (Prieto dedicates his latest release, Taking the Soul for a Walk, to Angá's memory). But most important, because Angá embodied the philosophy we have championed from the moment we opened our doors as a performance venue: that jazz is an international language, youthful in spirit, progressive in outlook, conversant not only with the American jazz heritage but an array of folkloric traditions from around the globe. The performers in our special homage - Pedro Martinez (June 15th), Flor Urrutia (June 19th), Yosvany Terry (June 20th) and Roy Hargrove and many others (June 21st) - share Angá's commitments to musical excellence and global fellowship, and they'll join us in hailing Angá's work as a shining example for present and future generations.
Miguel Aurelio "Angá" Díaz Zayas occupied a unique place in the lineage of Afro-Cuban music. He was deeply invested in the traditional roots and communal functions of the art, but equally interested in pushing it into new, pan-stylistic territory - including but not limited to jazz. "It's astounding how many sonic colors you hear in [Angá's] work," Omar Sosa told the Los Angeles Times. "He understood the entire language of Afro-Cuban percussion."
Born in 1961 in the village of San Juan de Martinez, Díaz took the nickname "Angá" from his saxophone-playing father. As a child he absorbed the sound of rumba, joining fellow villagers in the public square every Sunday for music-making and dancing. He began studying congas with the local rumba player Titino, though his professional career got off the ground when he moved to Havana, attended the Cuban School of Arts and joined the pathbreaking group Opus 13.
Angá's mentor in Havana was the great conguero Tata Güines (1930-2008), himself a direct link to Chano Pozo, Arsenio Rodriguez and other Afro-Cuban giants. "Tata's way of thinking, his ability to play Latin jazz, jazz, funk - that's the main thing he gave me," Angá said. "He could play anything because he was open." On YouTube there are clips of Angá and Tata Güines performing together, and the special bond between the two is palpable. Tata's example served the young Angá well, for he went on to join Chucho Valdés for nine years in the pioneering ensemble Irakere.
Angá also discovered a new musical language playing with M-Base innovator and alto saxophonist Steve Coleman (hear 1999's Sonic Language of Myth). He went on to share Grammy-winning success for Habana, the breakthrough 1997 album by Roy Hargrove's Afro-Cuban group Crisol. But even as Angá joined forces with leading American jazz artists, he remained close to his roots, working with Juan de Marcos González in the Afro-Cuban All Stars; with Orlando "Cachaito" López on the 2001 album Cachaito; and with Ibrahim Ferrer, Rubén González, Omara Portuondo and other members of the renowned Buena Vista Social Club. One can also hear Angá's brilliance on Live à FIP, the fiery 2006 quintet album by Omar Sosa, recorded in France just over a year before Angá's death.
Alluding to Angá's spectacular five-drum technique, Afro-Latin music expert Paul de Castro has said: "[Angá] could do things [on congas] that could only be dreamed of before he came on the scene." But on Echu Mingua, Angá's 2006 album for World Circuit, his first and last disc as a bandleader, we hear more than just chops. We hear the culmination of Angá's journey - his goal, as he put it, of "mixing percussion with everything that exists, everything musical." From danzón and flamenco to the instrumental timbres of Mali; from Coltrane and Monk to the sound world of DJs, beat programmers and hip-hoppers, Echu Mingua is Angá's lasting testimony, a tribute to his ancestors and mentors and an inspirational text for generations yet to come.
Please join us at The Jazz Gallery, during the annual Make Music New York festivities, as Kwaku Martin Oben, Gema y Pavel, Yosvany Terry and Roy Hargrove honor Angá's vibrant musical and personal spirit with "Un Homenaje Para Angá".
Make Music New York is a new live, free musical celebration across the city that took place for the first time on June 21, 2007. On that day, public space throughout the five boroughs - sidewalks, parks, community gardens, and more - became impromptu musical stages and dance floors and social meeting points. The event is based on France's Fete de la Musique, which has been a great success for 25 years. Since it was inaugurated, the festival has become an international phenomenon, celebrated on the same day in more than 300 cities in 108 countries, including Germany, Italy, Egypt, Syria, Morocco, Australia, Vietnam, Congo, Cameroon, Togo, Colombia, Chile, Mongolia and Japan.
The Jazz Gallery is proud to take part in this fun but also meaningful celebration, which highlights the arts' centrality to human societies around the globe.
The Jazz Gallery is a New York State-accredited cultural center that has long sought to highlight the significance and varied dimensions of Afro-Cuban musical traditions, and their ongoing relationship to jazz. For more information visit www.jazzgallery.org
The Jazz Gallery is located at 290 Hudson Street (below Spring), in lower Manhattan and can be reached by the IRT #1 or 9 to
Houston Street or the IND C or E trains to Spring Street.
General admission - $12.00 - 30.00; $10.00 for The Jazz Gallery members. Reservations are recommended. 212-242-1063
Bancal Bancal @ BeCool, Barcelona
Thursday june 19th 2008 / Jeudi 19 juin 2008 /
start 00hwith / avec Tsugi, DJ mag & ClubbingSpain
The Bancal Bancal studio is a new project started by three London-based frenchmen Ivan Smagghe, Danton Eeprom and Tim Paris plus british dj/producer Pete Herbert. From this "Franco English resistance bunker", as Ivan describe, had already originated some cool tracks including 3 remixes from Ivan Smagghe & Tim Paris (aka It's A Fine Line) out on Marketing, Tsuba and Soma, one EP + one remix from Ivan Smagghe & Danton Eeprom (aka "La Horse") due to be released on Fondation and Kill The Dj + one EP with Tim Paris and Pete Herbert (aka "Challenge") out soon on Marketing. Some Danton and Tim material is also in the pipeline.Bancal Bancal is also a club night featuring Pete Herbert, Danton's twisted live act and an extensive back2back dj performance from Tim and Ivan.
The first edition took place in Paris at Rex club and feedback from clubbers and press has been amazing so far. On thursday june 19th, they will bring the show out of France for the first time, here at BeCool in Barcelona.In the disco room upstairs Crack & Speed's Jef K, Cosmo Vitelli from I'm A Cliche, Baby G of LSB fame (with Pete Herbert), JL Magoya (from Deep in Madrid) and Barcelona-based Will Deluxe will keep things phat FAMILIES (the booking agency of Alexkid, D'julz, Tim Paris and Llorca among other but also the initiator of the FAMILIESdownloads online dj mix series) is also celebrating its website's reopening, with a revamped design.
Le studio Bancal Bancal est un nouveau studio fonde par trois francais exiles a Londres Ivan Smagghe, Danton Eeprom et Tim Paris et le dj/producteur Anglais Pete Herbert.De cette collaboration musicale on peut d’ores et deja ecouter les premizres collaborations entre Ivan Smagghe et Tim Paris (alias « It's a Fine Line ») sous la forme de trois remixes a paraitre prochainement chez Tsuba, Marketing et Soma. Ont suivi un remix de Danton et Ivan (alias « La Horse ») sur Kill The Dj et l'on attend tres bientot des collaborations entre Tim et Pete (alias « Challenge ») et bien evidemment Danton et Tim.
Bancal Bancal c'est aussi une soiree en compagnie de Pete Herbert, l'excellent live de Danton et un set back2back de Tim et Ivan. Apres deux editions a Paris (Rex Club) et Marseille (Hush Hush), Bancal Bancal - la soiree - s'exporte pour la premiere fois hors de France, le jeudi 19 juin, ici au club BeCool de Barcelone. Dans la disco room se suivront le boss de Crack & Speed Jef K, Cosmo Vitelli de I'm A Cliche, Baby G (connu pour ses collaborations avec Pete Herbert sur Eskimo) ainsi que JL Magoya de Deep a Madrid et Will Deluxe.FAMILIES, l'agence de booking d'Alexkid, D'julz, Tim Paris et Llorca notamment, mais aussi l'initiateur de la serie de mix en ligne FAMILIESdownload, fetera la mise en ligne de son nouveau site web, completement redesigne.
Joan Llongueras 08021
Tel 93 362 04 13
ABRONS ARTS CENTER: 466 Grand Street (at Pitt) NYC8:30PM / $10
Album download. Chick Corea - Electric Chick (Jazz Club). Digital release date: 12 May 2008, Label: Universal Music Classics & Jazz, Tracks: 10. Produced by Arnaldo DeSouteiro
Preziose fioriture primaverili: mostra di Bonsai di Azalea e Rosa
■ La prima mostra dedicata ai bonsai di azalea e rosa in Italia organizzata dalla Nippon Bonsai Sakka Kyookai Europe
■ Visite guidate
■ Workshop per avanzati di azalea bonsai, 2 giugno
■ Conferenza sulla coltivazione della azalea da giardino, 1 giugno >>>
Concerti di Taiko: i tamburi giapponesi1 e 2 giugno 2008, ore 21.30
Coinvolgenti coreografie di luci e uncrescendo di trascinanti emozioni!
Tornano a Higan l’energia ed il ritmo trascinante dei tamburi giapponesi dei Masa Daiko con due emozionanti concerti. Info e prenotazioni >>>
Mostra di Haiku in Calligrafia Shoo e Dimostrazione del Maestro Norio Nagayama
■ Le Poesie Haiku di Basho reinterpretate dal Maestro Norio Nagayama, tavole originali.
■ Conferenza introduttiva a cura del Prof. Ruperti, Univ. Ca' Foscari Venezia, 31 maggio
■ Dimostrazione di Haiku in calligrafia Shoo, 2 giugno >>>
Demo in Zürich gegen den Verfassungsartikel zur Krankenversicherung – diesen Aufruf bitte weiterleiten
Im Endspurt des Abstimmungskampfes rufen Medizinstudierende der Universität Zürich zu einer Demonstration gegen den Verfassungsartikel zur Krankenversicherung auf, und zwar am kommenden
Montag, 26.5.2008, Treffpunkt: 19 Uhr, beim Careum (Tramhaltestelle Platte an der Gloriastrasse 16, Tram 5 und 6)
Start: 19.30 Uhr
Route: Careum – Kunsthaus – Bellevue – Limmatquai – Central – HB – Landesmuseum
Schluss: Landesmuseum, ca. 20.30 Uhr
Alle Teilnehmer/innen sind willkommen. Die Organisator/innen hoffen auf einen eindrücklichen „weissen Demonstrationszug“: Das Gesundheitspersonal wird deshalb aufgerufen, weisse Berufskleidung zu tragen. Aus diesem Grund organisieren wir keinen VPOD-Block mit roten Fahnen, rufen aber alle auf, diese Aktion der Medizinstudierenden zu unterstützen – und vor allem am 1. Juni an der Urne ein klares Nein einzulegen!
Tel. 044 295 30 21
Aurel Schmidt – Seitenwechsel
Seilschaften in Sauwilen
Sauwilen* liegt im schweizerischen Hinterland, ein kleines Städtchen, das man sich putziger nicht vorstellen kann. Seine Marktgasse und das alte Stadttor ergeben ein einzigartiges Postkartenmotiv.
Hier ist die Welt noch in Ordnung. Niemand kommt auf die Idee, an den Verhältnissen etwas zu
ändern. Zwischen Behörden und Bevölkerung herrscht das ungetrübteste Einverständnis.
Die Gemeinde hat grosse Pläne. Sie will wachsen, neue Einwohner anziehen und zum Zentrum einer grossen, aufstrebenden Region aufsteigen. Denn gross ist gut, aber grösser besser. Nur klein ist schlecht. Zu diesem Zweck haben die Gemeindebehörden schon vor Jahren grosseLandreserven angelegt, die jetzt überbaut werden sollen. Zu diesem Zweck wurde der hochgeschätzte Architekt Bärni Baumann* beauftragt, einen Gestaltungsplan auszuarbeiten.
Das Ergebnis stiess bei der Gemeinde auf einhellige Zustimmung. Unerwarteterweise wagte es jedoch der ortsferne kantonale Heimatschutz, Einspruch zu erheben. Kritisiert wurde die Architektur, die den im Planungs- und Baugesetz verlangten "hohen Qualitätsstandards" nicht genüge, was mit der Tatsache in Zusammenhang gebracht wurde, dass auf einen Ideenwettbewerb verzichtet worden sei.
Die Gemeinde liess eine Stellungnahme zur Einsprache ausarbeiten und beauftragte dazu den
Architekten selbst, der in seiner Entgegnung an den Gemeinderat die gute, moderne Bauqualität (also seine eigene) lobte und bemerkte, dass Ideenwettbewerbe in Sauwilen "nicht üblich" seien.
Der Gemeindeverwalter Chrigu Hollerer* schloss sich dieser Argumentation vollumfänglich an. Er fand den Gestaltungsplan "sehr gut" und zitierte dazu ein Gutachten der Baukommission, die am Gestaltungsplan nichts auszusetzen hatte. Der Zufall wollte es, dass der Gemeindeverwalter, der das Gutachten zu vertreten hatte, in Personalunion auch Präsident der Baukommission war. Ein weiterer Zufall will es, dass Gemeindeverwalter Hollerer und Architekt Baumann vor 30 Jahren zusammen die Schulbank gedrückt haben. Der Unternehmer, der den Bebauungsauftrag ausführen wird, ist übrigens ein Duz-Freund von Baumann.
Eine Opposition in Sauwilen gibt es selbstverständlich nicht. Die Sauwiler Geschäftsleute und das
Kleingewerbe hüten sich, den Behörden zu widersprechen. Sie wissen, was sie ihren Umsätzen schuldig sind und machen lieber die Faust im Sack.
In Sauwilen kennen sich alle. Gemeindeverwalter, die Präsidenten der Kommissionen, die
Lokalprominenz und so weiter jassen zusammen im "Ochsen", haben zusammen studiert und verkehren freundschaftlich untereinander. Auch privat. Gemeinsame Interessen werden erfolgreich durchgesetzt.
Die Amtsstatthalterin, die im Konfliktfall die Gemeinde im Auftrag des Kantons zu kontrollieren hat, ist durch einen ihrer Verwandten mit dem Architekten verbunden. In Wirklichkeit ist alles noch viel verwickelter. Aber auch so bleibt der Fall exemplarisch. Man bezeichnet Verhältnisse dieser Art heute als "Kuchen" oder auch als "Seilschaften".
In Sauwilen, und nicht nur dort, ist die Demokratie nach bewährtem Muster fest in Hand von ein paar kaltblütigen, besonnenen Männern. Alles geschieht stets nur zum Wohl der Gemeinde. Sauwilen ist überall.
* Namen von der Redaktion geändert
© OnlineReport Basel 26. Mai 2008
Aurel Schmidt, war bis Mai 2002 Redaktor der "Basler Zeitung" (vorher "National-Zeitung"). Er war mitverantwortlich für das jeden Samstag erscheinende "Basler Magazin" und verfasste zahlreiche philosophische Essays, Reise-Reportagen, Kommentare und Kolumnen. Schmidt, der heute als Schriftsteller und freier Publizist in Basel lebt, machte sich auch als Autor mehrerer Bücher einen Namen: "Der Fremde bin ich selber" (1982), "Die Alpen - schleichende Zerstörung eines Mythos" (1990), "Wildnis mit Notausgang. Eine Expedition" (1994), "Von Raum zu Raum. Versuch über das Reisen" (1998). Zuletzt erschienen: "Lederstrumpf in der Schweiz. James Fenimore Cooper und die Idee der Demokratie in Europa und Amerika" (2002) und "Gehen -der glücklichste Mensch auf Erden" (2006).
© Foto by OnlineReports.ch
"Stan Getz Meets João & Astrud Gilberto" (DCE Japan) 1989
(big mistake: the cover photo uses a photo of Getz with Charlie Byrd, instead of Joao Gilberto...)
Featuring: João Gilberto, Helcio Milito, Keeter Betts, Kenny Burrell, Gene Cherico, Joe Hunt, Chuck Israels, Gary Burton
Frank Sinatra & Antonio Carlos Jobim: "SinatraJobim" (Reprise) 1969
(rare copy with the original cover art)
Featuring: João Palma, Chuck Berghofer, Eumir Deodato, Claudio Slon, Chico Batera, Ted Nash, Morris Stoloff, Milt Bernhart, Paul Horn, Buddy Collette, Dick Nash, Ken Shroyer, Vincent DeRosa, Israel Baker et al.
Opus Samba by FONSECA TRIO, Fabio. On CD Albums from Jazz Station. Available from Juno Records.
Fabio Fonseca Trio's "Opus Samba", produced by Arnaldo DeSouteiro, becomes available today in England.
Tuesday-Sunday, July 8-13
Russell Malone Quartet
Featuring Russell Malone (guitar), Martin Bejerano (piano), Tassili Bond (bass), Johnathan Blake (drums).
After Hours: Tuesday-Saturday – July 8-12 – Jeremy Manasia Trio
Monday, July 14
Band Director Academy Faculty All Stars
Tuesday-Sunday, July 15-20
Marcus Roberts Trio
Featuring Marcus Roberts (piano), Roland Guerin (bass), Jason Marsalis (drums).
After Hours: Tuesday-Saturday, July 15-19 – Howard Fishman & The Biting Fish Brass Band
Monday, July 21
Tony DeSare Quintet
Tuesday-Sunday, July 22-27
(7:30 & 9:30pm sets only)
Flora Purim & Airto with Toninho Horta and Mark Egan
Featuring Flora Purim (vocals), Airto (percussion/vocals), Toninho Horta (guitar), Mark Egan (bass).
After Hours: Tuesday-Saturday- July 22-26 – The Anderson Twins Quintet
Monday, July 28
Charlie Porter Quartet
Tuesday-Sunday, July 29-August 3
SOLD OUT July 30 - 7:30pm set only
(7:30 & 9:30pm sets only)
Cedar Walton Quartet with Vincent Herring & Lewis Nash
Featuring Cedar Walton (piano), Vincent Herring (alto saxophone), Lewis Nash (drums), David Williams (bass).
After Hours: Tuesday-Saturday – July 29-August 2 – Rick Germanson Trio.
Artists and schedule subject to change.
Headliners: 7:30 & 9:30pm, additional 11:30pm set Friday & Saturday
AFTER HOURS: 11:00pm Tuesday-Thursday; 12:45am Friday & Saturday
UPSTARTS! Mondays: 7:30 & 9:30pm
Dizzy’s Club Coca-Cola, 5th floor, Frederick P. Rose Hall, home of Jazz at Lincoln Center, on Broadway at 60th Street, New York City.
Cover charge for weekly headliners is $30-$35 Tuesday-Sunday, except Friday and Saturdays are always $35. Monday UPSTARTS! cover is $20. After Hours is $10. Student rates are: $15-headliners, $10-UPSTARTS! and $5-After Hours. The food and beverage minimum is in effect for all sets: $10 at the tables, $5 at the bar. Call (212) 258-9595 or visit www.jalc.org