mardi 27 octobre 2015

Enfin, le film autour de Miles Davis

Miles Comes To The Big Screen; Nephew Vincent Wilburn Approves

Miles Comes To The Big Screen; Nephew Vincent Wilburn Approves

Sometimes a comment made without serious intent can start the wheels of fate. 

Many Miles Davis fans know there has been a Miles Davis movie in the works for some time. Different proposals emerged over the years, none of them coming to light for varying reasons. Now, however, all Miles fans know that it's here. The movie, filmed inCincinnati, is complete and ready for release. It debuted in New York City the second weekend in October. The final fruition of the film may have been the result of one utterance from the jazz icon's nephew, Vincent Wilburn, son of Davis' only sister and a drummer in the trumpeter's band for a period in the 1980s, touring and recording with the legend. 

samedi 24 octobre 2015

Recipients of Nation’s Highest Award in Jazz Announced


2016 NEA Jazz Masters Will Be Honored at Free Concert in Collaboration with the John F. Kennedy Center for the Performing Arts in Washington, DC, on April 4, 2016

Nominations for 2017 NEA Jazz Masters Open until December 31, 2015


Headshots of four NEA Jazz Masters with NEA Jazz Masters logo
Left to right: Archie Shepp (photo by Monette Berthommier), Gary Burton (photo by Bill Gallery), Wendy Oxenhorn (photo by Klaus Lucka), and Pharoah Sanders (photo by Quentin Leboucher).
Washington, DC—The National Endowment for the Arts will honor four jazz leaders – three musicians and an advocate – with the 2016 NEA Jazz Masters award for their significant accomplishments in the field. This year’s honorees range from fiery saxophonists who cut their teeth with the legendary John Coltrane, to a vibraphonist who reshaped the direction of jazz by introducing rock elements, to one who has dedicated her life to assisting jazz musicians in need.
The NEA Jazz Masters award is the highest honor that our nation bestows on a jazz musician and includes a cash award of $25,000 and an award ceremony and celebratory concert, among other activities. As part of the National Endowment for the Arts’ 50th anniversary events, the annual NEA Jazz Masters celebration will take place in April 2016 in the nation’s capital, in collaboration with the John F. Kennedy Center for the Performing Arts.  
The 2016 NEA Jazz Masters are:
Burton's four-mallet technique on the vibraphone gave the instrument a new musical vocabulary in jazz and a fuller, more piano-like sound than the traditional two-mallet approach. He was one of the progenitors of jazz fusion in the late 1960s, and had a decades-long educational career at Berklee College of Music.
Oxenhorn is the executive director and vice chairman of the Jazz Foundation of America, an organization headquartered in New York, New York, committed to “providing jazz and blues musicians with financial, medical, housing, and legal assistance as well as performance opportunities, with a special focus on the elderly and veterans who have paid their dues and find themselves in crisis due to illness, age, and/or circumstance.”
Sanders is a Grammy Award-winning jazz saxophonist who has shown a remarkable facility performing in a variety of styles, from free to mainstream, displaying what has been called “hard-edged lyricism.” Emerging from John Coltrane's groups of the mid-1960s, Sanders is known for his distinctive sound marked by overblowing, harmonic, and multiphonic techniques.
Shepp is best known for his Afrocentric music of the late 1960s, a unique style of free-form avant-garde jazz blended with African rhythms, and his collaborations with John Coltrane, Horace Parlan, Cecil Taylor, and the New York Contemporary Five ensemble. His long career as an educator has focused on ethnomusicology, looking at the history of African-American music from its origins in Africa to its current state.
* Wendy Oxenhorn is the recipient of the 2016 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz.
NEA Chairman Jane Chu said, “As we celebrate the National Endowment for the Arts’ 50th anniversary this year, it is especially important to honor the musicians and advocates whose efforts have helped to shape and expand our cultural heritage. Through their talent, creativity, passion, and curiosity, these four individuals have made invaluable contributions to jazz and I look forward to celebrating them in Washington, DC, next year in collaboration with the Kennedy Center.”
A free concert honoring the 2016 NEA Jazz Masters will be presented at 8:00pm on Monday, April 4, 2016, at the Kennedy Center’s Concert Hall and also available in a live video stream at, and In addition, as a way of expanding opportunities for the public to engage with the artists and their music, the celebration will include other activities April 2-5, such as moderated panel discussions and listening parties at NPR headquarters in Washington, DC, and educational opportunities for local DC students, which will feature some of the 2016 NEA Jazz Masters. More details on these events, including how to obtain tickets for the April 4 concert, will be announced in early 2016.
"We are honored to host the 2016 NEA Jazz Masters ceremony and to welcome four mainstays of the jazz world to the nation's center for the performing arts. Washington has a unique place in the history and evolution of jazz, having been the home of legends including Duke Ellington, Frank Wess, and our very own Dr. Billy Taylor. Jazz also has an exciting place in the Kennedy Center's programming with the leadership of our extraordinary Artistic Director for Jazz, Jason Moran," said Kennedy Center President Deborah F. Rutter. "This celebration brings us even closer to the jazz community, and we are elated to be a part of such an important recognition of outstanding artistry and inspiring advocacy for a true American art form."
NEA Jazz Master awards are bestowed on living individuals on the basis of nominations from the public including the jazz community. The NEA encourages nominations of a broad range of men and women who have been significant to the field of jazz, through vocals, instrumental performance, creative leadership, and education. The NEA is currently accepting nominations for the 2017 NEA Jazz Masters (deadline: December 31, 2015). Visit for more information and to submit a nomination.
About NEA Jazz Masters
Each year since 1982, the National Endowment for the Arts has conferred the NEA Jazz Masters award to living legends in recognition of their lifetime achievements and exceptional contributions to the advancement of jazz. With this new class, the NEA has honored 140 great figures in jazz. More information about the NEA Jazz Masters and the agency’s collection of free jazz content is available here.
The NEA also supports the Smithsonian Jazz Oral History Program, an effort to document the lives and careers of NEA Jazz Masters. In addition to transcriptions of the comprehensive interviews, the website also includes audio clips with interview excerpts. This project has transcribed the oral histories of more than 90 NEA Jazz Masters.
About the National Endowment for the Arts
Established by Congress in 1965, the NEA is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the NEA supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. This year marks the 50th anniversary of the National Endowment for the Arts and the agency is celebrating this milestone with events and activities through September 2016. Go to enjoy art stories from around the nation, peruse Facts & Figures, and check out the anniversary calendar.
About the John F. Kennedy Center for the Performing Arts
The John F. Kennedy Center for the Performing Arts is America's living memorial to President Kennedy, and the nation's cultural center. Under the leadership of Chairman David M. Rubenstein and President Deborah F. Rutter, the nine theaters and stages of the nation's busiest performing arts facility attract audiences and visitors totaling 3 million people annually; Center-related touring productions, television, and radio broadcasts welcome 40 million more. Opening its doors on September 8, 1971, the Center presents the greatest performances of music, dance, and theater; supports artists in the creation of new work; and serves the nation as a leader in arts education. With its artistic affiliates, the National Symphony Orchestra and Washington National Opera, the Center's achievements as a commissioner, producer, and nurturer of developing artists have resulted in more than 300 theatrical productions, and dozens of new ballets, operas, and musical works.
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mercredi 21 octobre 2015


NIMES - Gard                   
Le vendredi 13 novembre à 20h30
Paloma, Club                       

                              Les rendez-vous de Jazz à Junas à Paloma !
Marc Simon: chant, xylophone; François Roux: batterie; Bernard Mourier: piano

Jazz à Junas et la SMAC Paloma s'associe à nouveau pour vous proposer une programmation jazz dans le Club !
Entre l'écrit et le sonore, pas de barrière mais une philosophie toute ensoleillée du mélange des genres…
Du jazz francophone au blues anglais en passant par le cabaret italien… fantaisie et poésie musicales "dans le velours des rêves découplés… décuplés" !
Voici Marc Simon, chant, xylophone… CORMAN en trio, accompagnée de son complice de toujours, Bernard Mourier au piano (Est-ce bien raisonnable?) et de son acolyte François Roux à la batterie.

Tarifs : préventes 12 euros / 9 euros réduit, vente sur place 15 euros / 12 euros,  
gratuit pour les moins de 10 ans
Renseignements au 04 11 94 00 10 et ou

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jeudi 15 octobre 2015

Jazz à La Clastre

Concert privé à La Clastre avec Pierre Diaz saxophone, Guillaume Séguron contrabasse et Samuel Silvant batterie

20151011 jazz privé ton ellen la clastre02 part01 par zimprod

jeudi 8 octobre 2015

Minimaliste, le jazzman Sylvain Rifflet fait le maximum

S’exclamerait-on d’une machine :«Quelle belle âme»? Pourquoi pas. Les tentatives d’illustrer les roues dentées, les fuselages et les boîtes de vitesse ne courent pas la discographie du jazz. Et pour cause : c’est difficile. L’entreprise (si on peut dire), nécessite une sacrée dose de culot. Ou de talent. Le saxophoniste-flutiste-clarinettiste-compositeur parisien Sylvain Rifflet (Allemagne, 1976) déploie les deux. Son dernier disque hypnotise. La musique oscille comme un pendule entre les envolées lyriques, les renversement brillants, et le tic-tac bruitiste du total minimalisme. Les vaisseaux spatiaux circulent. Les hélices traversent le ciel. Les paysages défilent. Difficile d’abandonner une écoute aussi diversifiée dans les approches. La mayonnaise de copeaux prend. Sans discussion parce que battent, en son coeur métallique, de fortes giclées de feeling.

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lundi 5 octobre 2015

Wilton Felder, Saxophonist for the Crusaders, Dies at 75

Wilton Felder, who for many years had a successful dual musical career, playing tenor saxophone with the Crusaders and moonlighting as a busy session bass player on records by the Jackson 5 and others, died on Sept. 27 at his home in Whittier, Calif. He was 75.
The cause was myeloma, his son, Wilton Jr., said.
Mr. Felder was a founding member of the Jazz Crusaders, which later became the Crusaders as its sound evolved from hard bop, a driving variation on bebop, to jazz-funk. The group was formed in Houston when Mr. Felder, the pianist Joe Sample and the drummer Nesbert Hooper, better known by the nickname Stix, were teenagers.
Initially called the Swingsters, the group later added the trombonist Wayne Henderson, the flutist Hubert Laws and the bassist Harry Wilson. Mr. Felder, Mr. Sample, Mr. Hooper and Mr. Henderson left Houston in the late 1950s for more promising career prospects in Los Angeles and began calling themselves the Jazz Crusaders.
“I remember the way each of us played and made our sound unique,” Mr. Felder told The Virginian-Pilot in 2006. “There was individual playing within the context of a band. We were a unit with each piece of the puzzle standing out.”
The Jazz Crusaders were one of the more successful jazz groups of the 1960s, when they recorded more than a dozen albums, starting with “Freedom Sound” in 1961. The group’s repertoire included compositions by Mr. Felder.
In an attempt to broaden their audience, the Crusaders dropped the word “jazz” from their name in the early 1970s and added an electric guitar, with Mr. Sample switching his focus to electric piano. (They had already begun moving in a more pop-oriented direction, recording cover versions of hits like the Beatles’ “Eleanor Rigby.”) As the Crusaders, they opened for the Rolling Stones on tour in 1975 and had a Top 40 pop hit in 1979 with “Street Life,” a catchy funk tune with a vocal by Randy Crawford.
“At their best, the Crusaders create a mellow, finger-popping mood,” Robert Palmer wrote in The New York Times in 1977. “Although their sound is less adrenal than that of most jazz-rock groups, they do retain a certain visceral intensity, especially in Mr. Felder’s raw, preaching saxophone solos.”
Mr. Felder also played electric bass with a wide range of musicians, among them Billy Joel, B. B. King, Joni Mitchell, Joe Cocker, Randy Newman and Steely Dan. He took part in numerous sessions for Motown, including the one that produced the Jackson 5 hit “I Want You Back,” which topped the Billboard pop chart in 1970.
Born in Houston on Aug. 31, 1940, Wilton Lewis Felder grew up listening to jazz, blues and country music. He took up the alto saxophone before he turned 10. He had become seriously ill, his son said, and his brother Owen, who played the saxophone, got him one to lift his spirits. He practiced constantly while attending Phillis Wheatley High School, and then studied music at Texas Christian University.
He told The Times in a 1981 article that he developed a big sound out of necessity.
“Most Texas saxophonists used to play in clubs where you didn’t have microphones, and after the early 1940s there were usually electric guitarists who played with their amplifiers turned way up,” Mr. Felder said. “So if you were playing saxophone, in order to be heard, you got a big steel mouthpiece and a hard reed. And you learned to play strong.”
The Crusaders broke up in the 1980s, though they reunited and performed together in different incarnations over the years. Mr. Felder also released a number of solo albums, starting with “Bullitt” in 1969. His most recent was “Let’s Spend Some Time” in 2005.
Mr. Henderson and Mr. Sample both died last year.

In addition to his son, Mr. Felder is survived by three sisters, Clara Walker, Jean Foster and Rozelia Gilliam; two daughters, Michelle LeBlanc and Deborah Clark; seven grandchildren; and his wife, the former Geraldine Hooper, sister of his longtime bandmate Stix Hooper.