lundi 2 septembre 2013
Hadouk Trio en dessins par Yann Bagot sur Citizen Jazz
Jolis dessins par Yann Bagot du HADOUK TRIO , présent au festival du Vigan 2010 organisé par Jazz à Junas
Hadouk Trio au Festival Jazz Métis, reportage dessiné
- lire la suite sur: http://www.citizenjazz.com/Hadouk-Trio-au-Festival-Jazz-Metis.html
dimanche 1 septembre 2013
LA SAISON 2013 REPREND DU SERVICE !
Soirée Cubaine avec TENTACION DE CUBA
le 21 septembre à St-Christol (Pôle oenotouristique) !!!
Ci-dessous le programme complet du 2ème semestre 2013 !
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Samedi 21 Septembre 2013 à ST CHRISTOL (34), Pôle eonotouristique Viavino, 21h00 |
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Vendredi 11 Octobre 2013 au VIGAN,
Auditorium du Lycée André Chamson, 21h00
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 Mercredi 6 Novembre à ALES,
Cratère Scène Nationale, grande salle, 20h30
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Jeudi 7 Novembre à LUNEL-VIEL,
Salle Antoine Roux, 20h30
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Vendredi 8 Novembre à GANGES,
Théâtre de l'Albarède, 21h00
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Vendredi 13 Décembre à ALLEGRE LES FUMADES,
Maison de L'eau, 20h30
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vendredi 30 août 2013
Le Philadelphia Jazz Label de Jim Miller
Le mois d'août reste un mois avec peu des activités de jazz; dommage, mais pour les intéressés entre vous, ici l'histoire d'un label de jazz de Philadelphia , moins connue que les grands label de jazz comme Blue Note et autres, mais cela faut la peine de lire au point de vue de l' histoire de jazz .
Record Label Profiles
Dreambox Media: The Philadelphia Jazz Label
Any fan of the great American music that is jazz is surely aware that the art form's history depended on the convergence of geography, individual talents, and inspiration. Cities such as New Orleans, Kansas City, Chicago, and New York are synonymous with particular styles of jazz. One often overlooked city isPhiladelphia, the birthplace and/or home to artists as diverse and influential as Pat Martino,Billie Holiday, Stan Getz, Lee Morgan, Dexter Gordon, Clifford Brown, Philly Joe Jones, Jimmy Smith,Benny Golson, Grover Washington, Jr., John Coltrane and many more. Paying tribute to this tradition of jazz in Philadelphia, and providing a contemporary slate of first-rate jazz musicians, is Dreambox Media, a strictly Philadelphia jazz label.
Jim Miller, the founder and driving force behind Dreambox Media, is a performing jazz drummer, producer, Adjunct Professor at Rowan University, Jazz History Lecturer at University of Pennsylvania, and advisory board member of JazzBridge.org and the Philadelphia Jazz Coalition. Miller has performed with preeminent artists including Anita O'Day, Larry Coryell, Tony Williams, Larry McKenna, Randy Brecker,Clark Terry, Ray Mantilla and Evelyn Simms; he has been honored with Philadelphia Magazine's award for Best of Philly Jazz Record Label (1999) and in 2013 received the Jazz Hero award, from the Jazz Journalists Association.
All About Jazz: What are the origins of Dreambox Media? Who was involved, and what was the initial conception of the label?
Jim Miller: I had a band called Reverie, I was on drums, Mark Knox on keyboards, Ed Yellen on saxophones, and Gerald Veasley on bass. We got some free studio time in New York, at a place called the Institute of Audio Research. We were pretty much guinea pigs for people taking a studio engineering class, but we ended up getting a master tape out of it. So anyway, we end up having this master tape, this is in 1980, we had the tape, and a band fund. We were a quartet, and a fifth of the share went into the band fund, where we could fix equipment, the van, whatever. So we had the money, and I said, "Let's just put this out ourselves." We had money actually saved up for a new van, but we put this first album out, and we made enough money for the van and another LP, and I wanted to do another one, because the band was evolving so quickly that I wanted to document it, plus keep our momentum going.
So initially, it was just a vanity label for my band. The second album, we actually did two pressings, about 1000 copies each, then we put out a live third album. I wanted to put out a live thing so people could really tell what we sounded like. Anyway, we'd amassed this database of reviewers and jazz writers, and at that point, the vocalist Suzanne Cloud asked to be on our label, and I hadn't even been thinking of it as a label, it was just a way to put Reverie stuff out. So she did an album called I Like It and she started spreading the word amongst the Philly jazz community. Pretty soon pianist Mark Kramer, Father John D'Amico, flautist Leslie Burrs, and vocalist Evelyn Simms, they all wanted to do things, so I thought "Wow, this is a label."
Meanwhile, we were still shopping our masters around, and I was learning more and more about the music business by the worse and worse deals that we were being offered, and still, in this do-it-yourself mode, I thought, "We have to treat everybody else the same way we want to be treated." So we came up with, I don't know if you'd call it a business model, but we didn't require that we own the masters. The artist still kept their masters, we didn't ask for any publishing split or money from sales at gigs, just a percentage of sales directly through the label, and that just paid the expenses. We wanted to treat everyone the same way the band wanted to be treated by these legitimate labels. It's kind of democratic and idealistic when you think about it—music by the musicians, for musicians, of musicians. In 2006-2008 it was hard with the digital thing, but even big labels were taking hits, the deals were getting even more predatory, and that affected us too, so now it's on life support again.
AAJ: Was it a strictly Philadelphia jazz label by choice?
mardi 27 août 2013
Colors par Dave Liebman
Jazz Video
“ Colors with artist Barb Januszkiewicz” by Dave Liebman
Dave Liebman & Barbara Januszkiewicz . Here Dave Liebman and Barbara Januszkiewicz in a wordless conversation, each in their own language responding to the other in a dialogue of musical notes and paint. Liebman's solo saxophone artistry is the inspiration for the kaleidoscope of color, images. As they play off each other's voice or visual expression in an ever-changing musical palette, the music takes on a visual rhythm and colorful beat and transforms the way you look at a painting or listen to jazz music.
Dave Liebman jouait à Junas en 2010 quand le Langudoc-Roussillon accueillait
New York
vendredi 23 août 2013
Lunel-Viel, Festival piano Jazz et Classique
Affiche festival un piano sous les arbres
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Un piano sous les arbres est un festival dédié au piano organisé par la commune de Lunel-Viel (34), chaque dernier week-end du mois d'août.
Toutes les musiques jouées avec un piano
Le festival met à l’honneur un instrument, le piano. Sa philosophie ? Mélanger des musiques dites savantes et des musiques populaires, des musiques écrites et des musiques improvisées. Le festival propose de découvrir des styles variés: classique, jazz, rock, musique tzigane... le piano comme dénominateur commun.
Depuis 2008, la programmation a intégré de la musique cubaine et du raï, du rock et de la musique classique, du jazz et des musiques traditionnelles, de l’Irlande à l'Arménie. Cette année, le spectre est large, de Bach à la musique électronique, en passant par Michel Jonasz.
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- Un cadre unique : le parc de l'Orangerie
Les concerts se déroulent en plein air, le dernier week-end d'août, dans un parc unique par son caractère. Ce cadre exceptionnel, qui abrite le château de Lunel-Viel (actuelle mairie) et une orangerie inscrite au patrimoine des monuments historiques permet de nouvelles formes d'écoute : siestes musicales, concert sous les étoiles...
- Invités prestigieux et nouveaux talents
Le festival accueille chaque année des têtes d'affiche comme Michel Jonasz, André Manoukian, les pianistes de jazz Bojan Z ou Yaron Herman. Mais il donne également à écouter de nouveaux talents comme Miss White & the Drunken Piano ou les Fourmis dans les mains.
- Festival et vins ?
Oui, dégustation même, de vins, de muscat, de produits du terroir. En même temps que les concerts, des stands dressés dans le parc permettent de varier les plaisirs en (re)découvrant les produits du Lunellois. Un piano sous les arbres c’est donc la promesse d’une dernière pause avant la rentrée.
jeudi 22 août 2013
Marian McParland vient de nous quitter
Mort de Marian McParland, légende du jazz
Marian McPartland, une brillante pianiste de jazz qui a connu une carrière de plus de 60 ans, est morte à l'âge de 95 ans, a annoncé sa maison de disques. D'origine anglaise, la musicienne qui est aussi connue pour avoir animé pendant 30 ans son émission "Piano Jazz" sur une radio populaire américaine, National Public Radio (NPR), est morte mardi soir dans sa maison de Long Island, à New York, a indiqué Concord Music Group.
Epouse divorcée puis remariée du musicien Jimmy McPartland, elle a enregistré plus de 50 albums et a été récompensée par de nombreux prix. Dans son émission de radio, elle a interviewé pratiquement tous les majors du jazz de l'après Seconde guerre mondiale, selon NPR. Elle a raconté à la radio en 2005 que sa passion pour la musique avait commencé très tôt, quand elle était petite, après avoir entendu sa mère jouer du piano. "A partir de ce moment, je ne me rappelle pas quand je n'ai pas joué du piano, j'en jouais jour et nuit, partout où je me trouvais", a-t-elle dit. "Chez ma tante, au jardin d'enfant - partout où il y avait un piano, j'en jouais", a raconté la pianiste qui est décédée d'un arrêt cardiaque
mercredi 21 août 2013
Cedar Walton nous quitte à l'âge de 79 ans
Cedar Walton, Pianist and Composer, Dies at 79
By WILLIAM YARDLEY
Published: August 20, 2013
Cedar Walton, a pianist who distinguished himself as both an accompanist and a soloist, and who wrote some of the most enduring compositions in modern jazz while a member of Art Blakey’s Jazz Messengers in the early 1960s, died on Monday at his home in Brooklyn. He was 79.
Rachel Papo for The New York Times
Cedar Walton performing with his quartet in 2009.
His death followed a brief illness, his manager, Jean-Pierre Leduc, said.
Mr. Walton sat in with Charlie Parker, spent a year accompanying the singer Abbey Lincoln, and recorded with both John Coltrane and, much later, the saxophonist Joshua Redman. He led a series of successful small groups, including a trio and a quartet that both featured his longtime collaborator, the drummer Billy Higgins. Yet he probably remained best known for his early work with one of the most influential incarnations of the Jazz Messengers, the group that the drummer Art Blakey ran as a kind of postgraduate performance academy for rising jazz stars.
Mr. Walton joined the Jazz Messengers in 1961, on the same day as the trumpeter Freddie Hubbard. (Among the other members of the group at the time, was the tenor saxophonist Wayne Shorter.) It was here that Mr. Walton established himself as a composer; over the years he would write a number of pieces that became jazz standards, including “Mosaic,” “Bolivia,” “Mode for Joe” and “Ugetsu,” also known as “Fantasy in D.”
Mr. Walton said his time with the Jazz Messengers helped him greatly as an accompanist, a role he often said he preferred to that of leader. Asked in a 2010 interview — conducted in conjunction with his being named a Jazz Master by the National Endowment for the Arts — what was most important about providing accompaniment in an ensemble that thrives on improvisation, he said, “Total listening.”
Cedar Anthony Walton Jr. was born on Jan. 17, 1934, in Dallas. His mother, Ruth, played and sang popular songs at home. He was not initially interested in reading music, but he showed an early inclination to compose.
“Are you making up songs again?” his mother would call out.
He studied music composition at the University of Denver but later switched to music education. Instead of graduating he left in 1955 for New York, where he soon joined the local jazz scene.
Mr. Walton’s survivors include his wife, Martha Sammaciccia; three children from an earlier marriage, Carl, Rodney and Cedra; and a daughter from another relationship, Naisha.
In April 1959, after serving in the Army, Mr. Walton was sought out by John Coltrane to play on a rehearsal recording for what would become one of his landmark albums “Giant Steps.” Mr. Walton played on the technically daunting title song but declined to take a solo. He soon realized that had been a mistake.
“The song was too hard for me,” he said in a 2011 interview with JazzWax, Marc Myers’s Web site. “But you just didn’t do that. I was young.”
When the album was recorded, Mr. Walton was out of town and Tommy Flanagan played piano. Years later, the sessions with Mr. Walton were released as alternate tracks. By then, he had long since established himself as a forceful and elegant soloist. His years with Mr. Blakey helped.
“He had sort of a bombastic style, but he would leave little openings for you,” Mr. Walton said in the 2010 interview. “So you developed your radar when to get in. If you didn’t get in then, you wouldn’t be heard.”
dimanche 18 août 2013
David Stone Martin et les Pochettes de Jazz
Trouvé sur You Tube: l'art de Davis Stone Martin pour les pochettes de Jazz
http://www.youtube.com/watch?v=puo1cJD9BLM
http://www.youtube.com/watch?v=puo1cJD9BLM
mardi 13 août 2013
Trois concerts de Junas 2013 sur Arte Liveweb
Steve Swallow Quintet
http://liveweb.arte.tv/fr/video/Steve_Swallow_Quintet_feat__Carla_Bley_au_festival_Jazz_a_Junas/
http://liveweb.arte.tv/fr/video/Le_Daniel_Humair_Quartet_au_festival_Jazz_a_Junas/
http://liveweb.arte.tv/fr/video/Le_Joel_Allouche_Quintet_au_festival_Jazz_a_Junas/
Que ce soit en tant que musicien, compositeur ou producteur, Steve Swallow a su imprimer sa marque sur l'univers jazz de ces quarante dernières années. Il est aujourd'hui entouré d'une nouvelle formation composée de Chris Cheek (saxophoniste, 60 albums à son actif), Steve Cardenas (guitariste, ex-collaborateur de John Patitucci et Charlie Haden) et Jorge Rossy (batteur, camarade de Joshua Redman et Brad Mehldau). Pour ne rien gâcher, la grande Carla Bley s'est jointe à l'aventure (comme si ce quatuor ne contenait pas assez de talents).
Cela faisait des lustres que Steve Swallow n'avait pas créé de groupe bien à lui. Heureux de voir (et surtout entendre !) que notre attente a été récompensée.
http://liveweb.arte.tv/fr/video/Steve_Swallow_Quintet_feat__Carla_Bley_au_festival_Jazz_a_Junas/
Daniel Humair est l'un des meilleurs batteurs jazz du monde, une véritable légende. Loin de s'enfermer dans son succès, celui qui a collaboré avec les plus grands s'entoure aujourd'hui de jeunes artistes prometteurs.
Excellente idée car du Daniel Humair Quartet est née une superbe création : Sweet & Sour. Un petit bijou de jubilation, en totale avec adéquation avec cette formation ayant pour mots d'ordre "rencontre" et "échange". En live, cela donne des prestations pleines de complicité, de spontanéité et de plaisir. De la musique aigre-douce ? Tant qu'elle est comme celle-ci, on en redemande !
http://liveweb.arte.tv/fr/video/Le_Daniel_Humair_Quartet_au_festival_Jazz_a_Junas/
"Tribute to Tony Williams". L'objectif de Joël Allouche est clair : rendre hommage à celui qui a tant apporté à son instrument de prédilection, la batterie. Découvert par Miles Davis à seulement 18 ans, Tony Williams a en effet modifié en profondeur la façon de jouer des batteurs. Par fracturation du temps, il a donné naissance à de nouveaux rythmes et à de nouvelles accentuations.
Pour ce projet, Joël Allouche s'est entouré de deux artistes confirmés : la trompettiste Airelle Besson, et le saxophoniste Pierre-Olivier Govin; mais aussi deux jeunes talents : la contrebassiste Gabrielle Koehlhoeffer et le pianiste Rémi Ploton. Comme quoi la musique n'a que faire des générations.
http://liveweb.arte.tv/fr/video/Le_Joel_Allouche_Quintet_au_festival_Jazz_a_Junas/
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