Say no to jazz – Jim Schembri – Opinion – theage.com.au
The News Review:
- Say no to jazz – Jim Schembri – Opinion – theage.com.au
- Miguel Zenon turns traditional Puerto Rican sounds into innovative…
- Pete Malinverni – Jazz and Gospel ‘separated at birth’
- Steve Winwood | Music Artist | Videos News Photos & Ringtones |…
- Sexy build-up release gratification
- Tuesday ‘” April 29
Say no to jazz – Jim Schembri – Opinion – theage.com.au
The Age – Apr 29, 2008
The Jazz Festival starts in Melbourne today and the city will comealive with the sounds of jazz so it’s hard to think of a betterreason to grab your cocktail shakers and head for the foothills ofAdelaide where there are plenty of nice wineries some lovelyscenery and no jazz festivals at all. Not that there’s anything fundamentally wrong with jazz. But youknow those huge panic scenes in those Irwin Allen films of the1970s where hundreds of people would run about screaming as thoughthe world was about to end? You know how Irwin Allen got thateffect? He played jazz music to the extras over the PA system. (Next time you’re watching The Poseidon Adventure on DVD listenclosely. That’s Charlie Parker in the background. ) The origins of jazz as an artform go back to 1912 in a music storeon the Mississippi Delta where a cat being chased by another catran backwards and forwards over a piano keyboard. It then jumpedthrough a drum kit before crashing into a display of discountedpercussion instruments… The damage jazz can inflict on the unsuspecting person can bedevastating. Even limited exposure to jazz has been known to promptsome people into strange behaviours such as reciting BruceSpringsteen lyrics in Yiddish or recreating the “make me a hinge”scene from Schindler’s List. Of course it would be unkind to dismiss all of jazz music as beingentirely unlistenable. Indeed scientific tests have proved that itis quite possible for people to endure extended exposure to jazzwithout wanting to pull their own heads off. And there’s no question that jazz has produced some great legendaryfigures whose names will live on forever: the unforgettable trumpetplayer Neil Armstrong; band leader Duke Wellington; KilometresDavis; and of course whatsisname the one with the trombone whosecheeks would puff up like the monster from Cloverfield every timehe blew into his bugle.
Miguel Zenon turns traditional Puerto Rican sounds into innovative…
AZ Central.com – Apr 29, 2008
29 2008 12:00 AM Newsday NEW YORK – Saxophonist Miguel Zenon has made his mark in jazz by translating the traditional Afro-Caribbean rhythms in his head into freer forms of expression. On his 2005 album “Jibaro” (Marsalis Music) he used the “feel” of traditional Puerto Rican music as a creative space to play a kind of jazz so innovative that he won Best New Artist in a JazzTimes poll. The New Yorker’s new album “Awake” (Marsalis Music) takes the concept even further. “If you start with the basic rhythmic structure of bomba but you don’t necessarily use the drums or play the rhythm explicitly you’re composing with a bomba feel” said Zenon. “A lot of the stuff we did on this record is coming out of an Afro-Cuban feel a Puerto Rican feel or even a flamenco feel.
Pete Malinverni – Jazz and Gospel ‘separated at birth’
CanadianChristianity.com – Apr 29, 2008
Malinverni – who had played piano in church from the time he was eight years old – was enamored with funk and R & B. Already familiar with classical gospel and funk his horizons broadened considerably during his late teens. “I started to hear jazz music late at night on the radio coming out of Buffalo. This station was playing straight ahead stuff – stuff I didn’t know anything about and it just felt right. ” He began to explore the music’s roots; “It became like an excavatory process; you remove one layer and get deeper another layer and get deeper until you’re transcribing Art Tatum.
Steve Winwood | Music Artist | Videos News Photos & Ringtones |…
MTV.com – Apr 29, 2008
That background wasn’t necessarily apparent on his solo records which established a viable commercial formula that was tremendously effective as long as it was executed with commitment. Stephen Lawrence Winwood was born May 12 1948 in the Handsworth area of Birmingham England. First interested in swing and Dixieland jazz he began playing drums guitar and piano as a child and first performed with his father and older brother Muff in the Ron Atkinson Band at the age of eight. During the early ’60s Muff led a locally popular group called the Muff Woody Jazz Band and allowed young Steve to join; eventually they began to add R&B numbers to their repertoire and in 1963 the brothers chose to pursue that music full-time joining guitarist Spencer Davis to form the Spencer Davis Group. Although he was only 15 Steve’s vocals were astoundingly soulful and mature and his skills at the piano were also advanced beyond his years. Within a year he’d played with numerous American blues legends both in concert and in the studio; in 1965 he also recorded the solo single “Incense” as the Anglos crediting himself as Stevie Anglo. Meanwhile the Spencer Davis Group released a handful of classic R&B-styled singles including “Keep on Running” “I’m a Man” and the monumental “Gimme Some Lovin’” which stood with any of the gritty hardcore soul music coming out of the American South… Stephen Lawrence Winwood was born May 12 1948 in the Handsworth area of Birmingham England. First interested in swing and Dixieland jazz he began playing drums guitar and piano as a child and first performed with his father and older brother Muff in the Ron Atkinson Band at the age of eight. During the early ’60s Muff led a locally popular group called the Muff Woody Jazz Band and allowed young Steve to join; eventually they began to add R&B numbers to their repertoire and in 1963 the brothers chose to pursue that music full-time joining guitarist Spencer Davis to form the Spencer Davis Group. Although he was only 15 Steve’s vocals were astoundingly soulful and mature and his skills at the piano were also advanced beyond his years. Within a year he’d played with numerous American blues legends both in concert and in the studio; in 1965 he also recorded the solo single “Incense” as the Anglos crediting himself as Stevie Anglo. Meanwhile the Spencer Davis Group released a handful of classic R&B-styled singles including “Keep on Running” “I’m a Man” and the monumental “Gimme Some Lovin’” which stood with any of the gritty hardcore soul music coming out of the American South. Winwood eventually tired of the tight pop-single format; by the mid-’60s the cutting edge of rock & roll often involved stretching out instrumentally and with his roots in jazz Winwood wanted the same opportunity.
Sexy build-up release gratification
The Australian – Apr 29, 2008
Born in Norway the acclaimed jazz pianist speaks in gently accented English about the many processes involved in making music. He once produced a dense study on the relationship between improvisation and sex and he discusses a range of musical theories with excitable curiosity. There is a "fundamental mystery" he says about music that defies description. But on the phone from Oslo that doesn’t stop him from trying. "Words can never really cover musical experience in its entirety otherwise there would be no reason to play" the 37-year-old says.
Tuesday ‘” April 29
NEWS.com.au – Apr 29, 2008
5 Jive At Five (Classic Jazz). 7 Film Music 2nd and 4th Tuesday Interlude other Tuesdays. Midnight Midnight Music Overnight.