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Albert Mangelsdorff: The Innovator of European Jazz Trombone
Introduction: Albert Mangelsdorff is a name that resonates with jazz enthusiasts and trombone aficionados alike. A trailblazer in the world of jazz, Mangelsdorff’s contributions to the genre are vast, spanning multiple decades and transforming the role of the trombone in jazz music. This German trombonist was not only a virtuoso musician but also a pioneer who helped shape the sound of European…
Conrad Herwig: Mastering the Art of Jazz Trombone
Introduction: Conrad Herwig’s name is linked with mastery of the jazz trombone. His unique style and spectacular performances have had a lasting influence on the world of jazz, spanning decades. This blog post dives into this exceptional musician’s life, career, and contributions. Early Beginnings: Born sixty-four years ago today on November 1, 1959, in Lawton, Oklahoma, Conrad Herwig’s…
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JazzX5#033. Bill O'Connell and the Afro Caribbean Ensemble: Wind Off the Hudson [Minipodcast]
JazzX5#033. Bill O’Connell and the Afro Caribbean Ensemble: Wind Off the Hudson [Minipodcast]
Por Pachi Tapiz.
“Wind Off the Hudson” Bill O’Connell and the Afro Caribbean Ensemble: Wind Off The Hudson (Savant Records) Bill O’Connell, Andrea Brachfeld, Craig Handy, Ralph Bowen, Gary Smulyan, Alex Sipiagin, Conrad Herwig, Lincoln Goines, Robby Ameen
© Pachi Tapiz, 2019
JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5comenzó su…
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AllMusic Staff Pick: Randy Brecker / Conrad Herwig / Eddie Palmieri The Latin Side of Herbie Hancock August 17, 2010 Latin Jazz
Following 2008's The Latin Side of Wayne Shorter, this collection of eight Herbie Hancock tunes gets the now signature Afro-Cuban treatment from the trombonist and arranger and his all-star lineup, which includes drummer Robby Ameen, saxophonist/flutist Craig Handy, trumpeter Mike Rodriguez, pianist Bill O'Connell, bassist Ruben Rodriguez, and percussionist Pedro Martinez. Augmenting the band are second pianist Eddie Palmieri and trumpeter Randy Brecker -- both of whom turn the opener, "Oliloqui Valley," into a burner. - Thom Jurek
The Latin Side of John Coltrane - 1996
Track 1 - A Love Supreme
Track 2 - Blue Train
Track 3 - Afro Blue
Track 4 - Naima
Track 5 - Satellite
Track 6 - Africa
Track 7 - After the Rain
Track 8 - Impressions
Track 9 - India
Track 10 - The Drum Thing
Track 11 - Blessing
La Montaña Rusa #412. Erroll Garner. Miguel Salvador Trio. Eivind Austad. Wayne Krantz. Maciek Pysz. Conrad Herwig. Erik Truffaz.
La Montaña Rusa #412. Erroll Garner. Miguel Salvador Trio. Eivind Austad. Wayne Krantz. Maciek Pysz. Conrad Herwig. Erik Truffaz.
El gran Erroll Garner es nuestro clásico de la semana, con ese legendario concierto, Concert By The Sea, en el Festival de Jazz de Monterrey en 1955. Otra sesión estupenda de radio jazz en La Montaña Rusa Radio Jazz. Nuestro clásico de esta semana es la edición triple de un legendario concierto, Concert by the Sea, en el marco del Festival de Jazz de Monterrey en 1955 a cargo del gran Erroll…
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2015 Jazz Grammy® Preview #1 – Best Improvised Jazz Solo
New Curt's Cafe Blog Post! 2015 Jazz Grammy Preview #1 - Best Impovised Jazz Solo #jazz #grammys
Well here I am folks, late to the Grammy Party but still right on time!
The 2015 Grammy® Awards will be handed out this Sunday, February 8. The Awards in the Jazz categories will be distributed, as usual, during the “Pre-Show” before the televised broadcast. As I have done over the past few years I’ve put together a review of the jazz category nominees, including a musical clip (where available)…
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Jazziversaries November 1st
Carmen Lundy (vocalist) 1954 :: Happy birthday Carmen Lundy! Carmen Lundy is an American jazz singer, composer, arranger, songwriter, actress, and painter. She has been performing for three decades, with a focus on original material. She has been positively compared with Aretha Franklin, Ella Fitzgerald and Sarah Vaughan. She is also the sister of bassist Curtis Lundy.
While an opera major at the University of Miami, where she received a BA in Music, she sang with a jazz band and decided to sing vocal jazz. She cites Dionne Warwick, Roberta Flack and Stevie Wonder as being among her first influences.
She moved to New York in 1978 where she was hired by the Thad Jones/Mel Lewis Jazz Orchestra and performed her first New York engagement at the Village Vanguard in Greenwich Village. The following year she had her first appearance on a self-titled album from a group called Jasmine featuring Bill O'Connell and Steve Berrios (West 54 Records). In 1980 she formed her own trio, performing with pianists John Hicks and Onaje Gumbs. She has also performed with Walter Bishop Jr., Don Pullen, Mulgrew Miller, Billy Childs, Terri Lyne Carrington, Kip Hanrahan, Courtney Pine, Marian McPartland, and the band Quasimode.
Lundy has composed and published over forty songs. Her compositions have been recorded by such artists as Kenny Barron ("Quiet Times"), Ernie Watts ("At the End of My Rope"), and Straight Ahead ("Never Gonna Let You Go").
Lundy's first album, Good Morning Kiss (1985) was an album of original compositions, and was reissued in 2002. Her second album was Night and Day (1986), and featured musicians Kenny Kirkland (piano), Alex Blake (bass), Curtis Lundy (bass), Victor Lewis (drums), Rodney Jones (guitar), Ricky Ford (tenor sax).
Lundy played the lead role in the European tour of Duke Ellington's Broadway musical, Sophisticated Ladies. Off-Broadway she portrayed Billie Holiday in Lawrence Holder's They Were All Gardenias. She made her television debut as the star of the CBS Pilot-Special Shangri-La Plaza (1990) in the role of Geneva.
In 2005 Lundy and producer Elisabeth Oei launched the label Afrasia Productions with Jazz & the New Songbook: Live at the Madrid recorded live at the Madrid Theatre in Los Angeles, also released on DVD. Lundy draws on repertoire from her previous recordings, backed by brother Curtis Lundy and Victor Lewis, pianists Billy Childs, Robert Glasper, Bobby Watson, Phil Upchurch, and Mayra Casales, a percussionist, who also released on Afroasia (the only one beside Lundy so far.) The labels second release was Come Home, her tenth album, featuring Geri Allen and Steve Turre, followed by Solamente, an album with recordings that originally served as reference demos, where she was playing all instruments herself.
Lundy's oil on canvas paintings have been exhibited in New York at The Jazz Gallery (Soho) and The Jazz Bakery, and in Los Angeles at the Madrid Theater. Her art also appears in the booklets that accompany her CDs.
Carmen Lundy’s 12th CD release, Changes, and one of her finest ever, features 8 new originals composed and arranged by Carmen Lundy, and one lone but standout classic, “A Nightingale Sang In Berkeley Square”.
Conrad Herwig (trombone) 1959 :: Many happy returns to trombonist Conrad Herwig. Conrad Herwig (né Lee Conrad Herwig III) is an American jazz trombonist from New York City who has recorded 22 albums as a leader.
Herwig began his career in Clark Terry's band in the early 1980s and has been a featured member in the Joe Henderson Sextet, Tom Harrell’s Septet and Big Band, and the Joe Lovano Nonet (featured as a soloist on Lovano’s Grammy Award winning 52nd St Themes). Conrad also performs and records with Eddie Palmieri’s "La Perfecta II" and Afro-Caribbean Jazz Octet, Paquito D’Rivera’s Havana-New York Connection, the Mingus Big Band (often serving as musical director, and was an arranger on the 2007 Grammy nominated-"Live at the Tokyo Blue Note"), and the Jon Faddis Jazz Orchestra, among others.
His newest CD releases in 2012 are "A Voice Through the Door" on CrissCross and the “The Tip of the Sword” on the RadJazz Music label featuring Richie Beirach and Jack DeJohnette. He has recorded several highly acclaimed projects in the Afro-Caribbean jazz genre. The latest being, “The Latin Side of Herbie Hancock” for Half Note Records. This is the follow-up project to the “The Latin Side of Wayne Shorter”, “Another Kind of Blue: The Latin Side of Miles Davis”, and, “The Latin Side of John Coltrane” all three of which were nominated for Grammy Awards (in 2009, 2005, and 1998 respectively) and recorded live at the Blue Note Jazz Club in New York City. Featured musicians included Paquito D’Rivera, Dave Valentin, Eddie Palmieri, and Randy Brecker.
Herwig's other solo recordings on the CrissCross label are "A Jones for Bones Tones", Obligation, Land of Shadow, Hieroglyphica, Unseen Universe, Osteology, and Heart of Darkness which received 4 and 1/2 stars in Down Beat. He has been voted #1 Jazz Trombonist (TDWR) in the 1998, 1999, and 2002 Downbeat Jazz Critic’s Poll and ranked highly on several occasions in the past decade. Herwig has been nominated for Trombonist of the Year by the Jazz Journalist's Association, most recently in 2011.
Lou Donaldson (saxophone) 1929 :: Bornday greetings to Lou Donaldson. Lou Donaldson is a jazz alto saxophonist. He was born in Badin, North Carolina. He is best known for his soulful, bluesy approach to playing the alto saxophone, although in his formative years he was, as many were of the bebop era, heavily influenced by Charlie Parker.
Donaldson attended North Carolina Agricultural and Technical State University in Greensboro in the early 1940s. He enlisted in the U.S. Navy during World War II and was trained at the Great Lakes bases in Chicago, where he was introduced to bop music in the lively club scene there. At the war's conclusion, he returned to Greensboro, where he worked club dates with the Rhythm Vets, a combo composed of A and T students who had served in the U.S. Navy. The band recorded the soundtrack to a musical comedy featurette, "Pitch a Boogie Woogie," in Greenville, North Carolina, in the summer of 1947. The movie had a limited run at black audience theatres in 1948 but its production company, Lord-Warner Pictures, folded and never made another film. "Pitch a Boogie Woogie" was subsequently restored by the American Film Institute in 1985 and re-premiered on the campus of East Carolina University in Greenville the following year. Donaldson and the surviving members of the Vets performed a reunion concert after the film's showing. In the documentary made on "Pitch" by UNC-TV, "Boogie in Black and White", Donaldson and his musical cohorts recall the film's making—he originally believed that he had played clarinet on the soundtrack. A short piece of concert footage from a gig in Fayetteville, North Carolina, is included in the documentary.
Donaldson's first jazz recordings were with the Charlie Singleton Orchestra in 1950 and then with bop emissaries Milt Jackson and Thelonious Monk in 1952, and he participated in several small groups with other jazz luminaries such as trumpeter Blue Mitchell, pianist Horace Silver, and drummer Art Blakey.
In 1953, he also recorded sessions with the trumpet virtuoso Clifford Brown, and Philly Joe Jones. He was a member of Art Blakey's Quintet and appeared on some of their best regarded albums, including the two albums recorded at Birdland in February 1954 Night at Birdland.
Donaldson has recorded in the bop, hard bop, and soul jazz genres. For many years his pianist was Herman Foster. He was inducted into the North Carolina Music Hall of Fame on October 11, 2012.
Henry "Pucho" Brown (timbales) 1938 :: Bandleader and timbalero Henry "Pucho" Brown was among the architects of Latin soul, pioneering the boogaloo sound alongside the better-known likes of Mongo Santamaria and Willie Bobo. According to Matt Rogers' exhaustive profile in the summer 2004 issue of Wax Poetics magazine, Brown was born in Harlem, New York on November 1, 1938 -- although he was first exposed to the legendary swing of Duke Ellington and Count Basie while accompanying his mother to their performances at the famed Apollo Theater; as a teen he discovered mambo via some Latino schoolmates, falling deeply under the spell of Tito Puente, Machito, and Tito Rodriguez.
After dropping out of high school, Brown worked a series of dead-end jobs while imitating his musical heroes on a set of timbales given to him by an aunt and uncle; he eventually learned to play well enough to form his first group, Los Locos Diablos, and by the age of 17 he was playing professionally with the Joe Panama Sextet.
After Panama fired his sidemen in 1959, rival Joe Cuba snapped them up, renaming them the Cha-Cha Boys; Brown eventually left Cuba to re-join Panama, but when Panama also dismissed this lineup, Brown stepped in as leader, renaming the group Pucho & the Cha-Cha Boys.
With a sound ingeniously melding jazz, mambo and R&B, Pucho & the Cha-Cha Boys quickly developed into crowd favorites on the Latino nightclub circuit; by 1962 they were headlining their own Harlem club, the Purple Banner. Brown possessed a rare knack for discovering talent, with musicians including Chick Corea, Hubert Laws, Willie Allen, and Sonny Henry passing through the Cha-Cha Boys' ranks; however, both Santamaria and Bobo regularly cherry-picked the top talent for their own bands, forcing Brown to dig even deeper for new blood.
In 1966, they signed with the Prestige label -- at which time producer Cal Lampley suggested the group (now including vibist Willie "Yambo" Bivins, pianist John "Mad Hatter" Spruill, reedist Harold Alexander, bassist Jimmy Phillips, conga player Richard Landrum, and bongo player Norberto Apellaniz) re-name themselves the Latin Soul Brothers. Pucho & His Latin Soul Brothers' Prestige debut Tough! essentially created acid jazz with its ferocious, funky spin on the mambo tradition, but neither the album nor its follow-up, Saffron Soul, generated much commercial interest.
Desiring greater creative control over his records, Brown left Prestige for the independent Right On label to cut 1971's Yaina, which heralded the Latin Soul Brothers' full immersion into psychedelic funk -- 1972's Super Freak upped the ante with its 15-minute Curtis Mayfield medley and some superior wah-wah guitar courtesy of Cornell Dupree. But at the peak of their creativity, Brown dissolved the Latin Soul Brothers, taking a year off from music before relocating to the Catskills, trading in his timbales for a conventional drum kit and reuniting with former sidemen Spruill and bassist John Hart in a lounge trio headlined by his sister-in-law Amanda on vocals.
Brown returned to New York City just in time for Latin soul to experience something of a renaissance thanks to the growing popularity and influence of the British acid jazz club scene. He soon played Japan, with the Tokyo-based Lexington label convincing him to re-form the Latin Soul Brothers for a new LP -- complete with Purdie on drums -- Jungle Strut -- Brown's first new album in over 20 years -- appeared in 1994. Rip a Dip appeared a year later, soon followed by 1997's Groovin' High, 1999's Caliente con Soul!, and 2000's How'm I Doin'?.
In 2003, Brown was enshrined in the International Latin Music Hall of Fame, becoming just the second African-American so honored after Dizzy Gillespie.
Sippie Wallace (vocalist) 1898-1986 :: Sippie Wallace (born as Beulah Thomas) was an American singer-songwriter. Her early career in local tent shows gained her the billing "The Texas Nightingale". Between 1923 and 1927, she recorded over 40 songs for Okeh Records, many written by herself or her brothers, George and Hersal Thomas. Her accompanists included Louis Armstrong, Johnny Dodds, Sidney Bechet, King Oliver, and Clarence Williams. Among the top female blues vocalists of her era, Wallace ranked with Ma Rainey, Ida Cox, Alberta Hunter, and Bessie Smith.
In the 1930s, she left show business to become a church organist, singer, and choir director in Detroit, and performed secular music only sporadically until the 1960s, when she resumed her career. Wallace was nominated for a Grammy Award in 1982, and was inducted into the Michigan Women's Hall of Fame in 1993
After following her brothers to Chicago in 1923, Wallace worked her way into the city's bustling jazz scene. Her reputation led to a recording contract with Okeh Records in 1923. Wallace's first recorded songs, "Shorty George" and "Up the Country Blues", the former written with her brother George, sold well enough to make Wallace a blues star in the early 1920s. Other successful recordings followed, including "Special Delivery Blues" (with Louis Armstrong), "Bedroom Blues" (written by George and Hersal Thomas), and "I'm a Mighty Tight Woman". Her younger brother Hersal died of food poisoning in 1926 at age 16.
Wallace moved to Detroit in 1929. Her husband Matt and brother George both died in 1936. Wallace for some 40 years was a singer and organ player at the Leland Baptist Church in Detroit. Mercury Records reissued "Bedroom Blues" in 1945. Aside from an occasional performance or recording date, Wallace did little in the blues until she launched a comeback in 1966 after her longtime friend Victoria Spivey coaxed her out of retirement and on the folk and blues festival circuit.
In 1966 Wallace recorded an album on Halloween night, Copenhagen, Denmark, Women Be Wise, with Roosevelt Sykes and Little Brother Montgomery sharing the piano stool. Another 1966 album Sings the Blues, on the latter song, Wallace accompanied herself on piano; otherwise she is backed by either Roosevelt Sykes or Little Brother Montgomery on piano. Includes Wallace's signature song, "Women Be Wise", "Don't Advertise Your Man". The album helped inspire blues-pop singer Bonnie Raitt to take up the blues in the late 1960. In 1971 Raitt recorded a rendition of Sippie Wallace's "Women Be Wise" on her self-titled album Bonnie Raitt. Wallace toured and recorded with Raitt in the 1970s and 1980s, while continuing to perform on her own. The bond between Wallace and Raitt helped bridge the gap between two generations of blues queens.
Wallace recorded on Louis Armstrong album, Louis Armstrong and the Blues Singers (1966), singing "A Jealous Woman Like Me", "Special Delivery Blues", "Jack O'Diamond Blues", "The Mail Train Blues" and "I Feel Good". Wallace also recorded an album of old blues standards with her friend Victoria Spivey, called Sippie Wallace and Victoria Spivey, which came out in 1970 on Spivey's own self-named label.
In 1981, Wallace recorded an album Sippie for Atlantic Records, which earned a her a 1983 Grammy nomination, and also won the 1982 W. C. Handy Award for Best Blues Album of the Year. Wallace's backup group on were pianist Jim Dapogny's Chicago Jazz Band, consisting of cornetist Paul Klinger, trombonist Bob Smith and Russ Whitman and Peter Ferran on reeds.
On July 22, 1982 at the Montreux Jazz Festival, Sippie shared the stage with the King of the Blues, B.B. King, which was filmed and later broadcast.
Welcome to November Jazzlings! Birthday greetings to all you sharing today as your born day! May the day be filled with love and laughter and the coming year one that helps you reach your dreams!
Thanks to AAJ & JBC for the guidance. Special thanks to Jason Ankeny at AllMusic for the Pucho info.
Respect to the YouTube Massive for the uploads,
Hugs, cuddles and shoulder bumps with the Inspiration Crew, thanks for the follows and for doing what you do!
And thanks to You for just passin' thru'
Be water, my friends
Walk tall,
Speak low,
Go placidly,
Geo
