Read Album Review

After launching their new album, Anything Goes (Concord Jazz), this jazz duo is hitting the road to spread exposure and bring their new tunes to the masses.

This stop, on the Craig Ferguson Show, is only one of many that will take place through January. Having started back in the beginning of December, this tour is just what the two needed. They are getting their names back on the charts and continuing to bring their unique sound to fans that have supported them for many years.

See Tour Dates

Video

Related posts:

1. “Anything Goes”: Herb Alpert & Lani Hall’s Concord Debut Release
2. Wayne Bergeron & After Hours Brass Release Christmas Album: “Music & Mistletoe”
3. Patti Austin Will Perform At Walt Disney Concert Hall In Los Angeles, CA

Place Your Vote Here

While this is exciting news for the UNT Jazz Band, it shouldn’t come as a shock – after all they do have a pretty good track record.

The six total Grammy nominations that the group have earned in the past are as follows: Lab 1975: Best Large Jazz Ensemble, Lab 1976: Best Large Jazz Ensemble, Lab 1989: Best Instrumental Arrangement for “Got a Match by Mike Bogle, Lab 1991: Best Instrumental Composition for “Values” by Neil Slater, and Lab 2009: Best Large Jazz Ensemble and Best Instrumental Composition for “Ice-Nine” by Steve Wiest.

Video

- University of North Texas Website
- Official Grammy Website

Related posts:

1. ABC Premiered Track From Gordon Goodwin’s Triple Grammy-Nominated Album “Act Your Age”: Concert at The Walt Disney Concert Hall to follow
2. 29th Annual North Carolina Jazz Festival In Wilmington, North Carolina
3. The 2009 Grammy Nominations Are Out: Who’s nominated in the jazz category?

Cover charge is $10 for each individual set OR $25 cover charge for the entire night (3 sets). APAP Conference attendees with official badges get free admission for entire Jazz Festival. Additionally there is a $7 food/drink minimum per set. Reservations are highly recommended.

- Festival Details
- Venue Info

Festival Set List

Friday, January 8, 2010
8:30pm “R*Time” w/special guest Judith Insell(viola)
Reut Regev – trombone
David Phelps – electric guitar
Sean Conly – bass
Igal Foni – drums

9:45pm “The Other Quartet”
Ohad Talmor – tenor saxophone, clarinet
Russ Johnson – trumpet
Pete McCann – guitar
Mark Ferber – drums, percussion

11pm Mario Pavone’s “Totem”
Mario Pavone / bass
Peter Madsen / piano
Dave Ballou / trumpet , flugelhorn
Gerald Cleaver drums

Saturday, January 9, 2010
8:30pm “The Thirteenth Assembly”
Taylor Ho Bynum – cornet
Mary Halvorson – guitar
Jessica Pavone – viola
Tomas Fujiwara – drums

9:45pm Tony Malaby’s “Paloma Recio”
Tony Malaby, saxophone
Ben Monder, guitar
Eivind Opsik, bass
Nasheet Waits, drums

11pm Mark Helias’ “Open Loose”
Mark Helias – bass
Tony Malaby – tenor saxophone
Tom Rainey – drums

Sunday, January 10, 2010
8:30pm Michael Musillami’s Trio + 3
Michael Musillami – guitar
Joe Fonda – bass
George Schuller – drums
Marty Ehlich – Alto Sax
Matt Moran – Vibes
Ralph Alessi – trumpet

9:45pm George Schuller “Circle Wide”
George Schuller – drums, comp, arr
Peter Apfelbaum – tenor/soprano sax
Dave Ambrosio – bass
Tom Beckham – vibes
Brad Shepik – guitar

11pm Matt Darriau’s “Ballin’ the Jack”
Matt Darriau – alto/soprano sax, clarinet
Andy Laster – baritone sax, clarinet
Frank London – trumpet
Curtis Hasselbring – trombone
George Schuller – drums
Joe Fitzgerald – bass
Anthony Coleman – keyboard, piano

More Info can be found online at www.companyofheaven.com.

Festival Location

Cornelia Street Cafe
29 Cornelia Street
Greenwich Village, NYC
(212) 989-9319
www.corneliastreetcafe.com

Related posts:

1. Cornelia Street Cafe In New York
2. Upcoming Events Calendar: Turning Point Cafe in New York
3. 5th Annual Los Olivos Jazz & Olive Festival

Register for Jazz For Curious Readers

Artist Info

As host-producer of a TV and a radio program on jazz in the New York City area, Shelia Anderson, author of The Quotable Musician: From Bach to Tupac, has met and interviewed musicians, composers, and other music industry professionals from all genres, classical to jazz.

For her latest book, How to Grow as a Musician: What All Musicians Must Know to Succeed (above, right), she put her connections to good use and culled the wisdom and personal experiences of 30 prominent musicians, including Grammy Award-winning performer Al Jarreau; Paula Kimper, a composer of opera, theater, film, and dance music; and Eric Reed, a jazz pianist who has played with the Wynton Marsalis Septet, Joe Henderson, Cassandra Wilson, and a multitude of other masters.

Shelia Anderson weaves together a comprehensive guide that reveals the fundamentals necessary for living a creative and successful life in music, with insights on getting started, developing as an artist, composing, recording, songwriting, preparing for performance, working with a manager, and signing contracts. She shares musicians’ candid and poignant advice on triumph and failure, self-evaluation, ego checks, and personal growth.

More Info

Event Details

Monday, January 4th, 2010
(7:00pm – 8:30pm)
Event is FREE!

Location:
Jazz Museum in Harlem Visitors Center
104 E. 126th Street (Suite 2C)
New York, NY 10035
(212) 348-8300
http://jazzmuseuminharlem.org

Related posts:

1. Rockefeller Foundation Presents “A Celebration Of America”: In honor of the presidential inauguration and Martin Luther King, Jr. Day
2. Fred Anderson Quartet To Release New Album At The Velvet Lounge In Chicago: Fans awaiting this 3rd volume
3. National Jazz Museum in Harlem Events: April 13th – 18th

Artist Background

From the opening drone of the didjeridu, the listener knows that this is no ordinary big band chart. Counting to Infinity, from the new Tim Davies Big Band album Dialmentia, takes you on a journey like only Tim Davies’s music can. On top of writing all of the music, Davies leads the band from the drums, stoking the band like a powerful steam engine one moment, steering it like a finely-tuned race car the next. He blends swing, rock, hip hop and contemporary techniques into compositions truly unique: this is not your father’s big band.

- Listen

Tim Davies first dreamt of leading his own big band when he was twelve, inspired by a cassette of Australia’s Daly-Wilson Big Band—a dream realized in 1998, when he formed his first band in Melbourne, Australia. Although only having a short run before he moved to the US, it made quite an impact.

Since 2000, Davies has based his big band in Los Angeles, featuring top session and touring players. He maintains an international presence, guest conducting and performing his music with Australian, American and European big bands, often fulfilling commissions. Davies has recently been invited to present a lecture at the first annual Jazz Education Network Conference, May 20-22, 2010 at the University of Missouri St.Louis.

When not writing or playing big band music, Davies works as an arranger, orchestrator and conductor in Hollywood. Recent highlights include: the TV shows Pushing Daisies (arr/orch/cond) and Glee (arr), the games GI Joe (orch/cond), Prototype (orch/cond) and God of War 2&3 (orch/cond) and the films Death Race (orch/cond), Cirque du Freak (cond), Couples Retreat (orch/cond) and the upcoming films Percy Jackson and the Olympians (orch/cond), The Wolfman (orch/cond) and Sex and the City 2 (arr).

More Artist Info

Related posts:

1. Catalina’s Presents Grammy-Nominated Trumpeter Christian Scott
2. The 2009 Grammy Nominations Are Out: Who’s nominated in the jazz category?
3. Jazz Education Network Launches: Bringing new opportunities for childrens’ growth in music

Highlights & Schedule

• Thursday’s Grand Opening Night will feature a stunning tribute to Frank Sinatra with the Patrick Williams’ Orchestra conducted by Terry Woodson, in SINATRLAND. Said one reviewer of the “10-star tribute to the Chairman” album- “If you like a well-disciplined big band sound, you gotta hear the Sinatraland Orchestra. You’ll love it!” Closing the evening will be a big band tribute to Benny Goodman with clarinet virtuoso- Ken Peplowski!

• Friday evening will kick off with Ken Peplowski, Gilbert Castellanos, Bill Cunliffe, Paul Keller and Lewis Nash in swinging set of the Great American Songbook, followed by the legendary Jimmy & Tootie Heath quartet featuring Cunliffe and Bob Magnusson. Jackie Ryan and the Tamir Hendelman Trio will follow and closing this second great night of straight ahead jazz will be famed drummer Jeff Hamilton and his Trio which features Tamir Hendelman and Christoph Luty!

• Saturday night will open with one of the most recorded drummers in jazz- Lewis Nash and his Friends, followed by trumpeter and vocalist Byron Stripling who will be joined by Dan Barrett, Paul Keller, Jeff Hamilton and Bill Cunliffe. Marlena Shaw and the Bill Cunliffe Trio will be next and closing the evening will be the Holly Hofmann Quartet with Strings in a tribute to Duke Ellington! Holly will feature Mike Wofford on piano, Christoph Luty on bass and Jeff Hamilton on drums, along with special guest- Byron Stripling.

• Sunday Evening will start by featuring one of the hottest young guitar players on today’s jazz scene- Graham Dechter who will be joined by veterans Jeff Hamilton, John Clayton and Tamir Hendelman. And continuing with
some comedy relief will be Dave Frishberg who is certain to perform many of his classic hits including “Peel Me a Grape”. Byron Stripling and Marlena Shaw will team up for the first time and bringing the weekend to a swinging
close will be the renowned Clayton-Hamilton Jazz Orchestra.

More Info

Details

Tickets are now available for the complete four night, three-day package including one Jazz Brunch. Prices are $350/375. Individual reserved seats are priced at $65/$70 for evening performances and $40/50 for the Grand Opening Sessions, $30 each for “Friday, Saturday & Sunday By the Pool” and $50 for each Jazz Brunch. For tickets to the 10th Annual Newport Beach Jazz Party, call the Jazzline at 949.759.5003 or for complete artist appearance times and an order form visit our website at newportbeachjazzparty.com.

Those wishing to have a weekend getaway may also enjoy the Marriott Newport Beach Hotel & Spa special rate of $154 per night for a standard room, $164 for Pool/Music View, $174 for Ocean Music View and $179 for Concierge. For hotel reservations call Marriott at 949.640.4000 and ask for the Newport Beach Jazz Party rate.

Free self-parking will also be available for attendees.

The Newport Beach Marriott
900 Newport Center Dr.
Newport Beach, CA
newportbeachjazzparty.com

Related posts:

1. Guitarist Jim Hall To Play Birdland, Nov. 10th-14th
2. 2nd Annual “Company of Heaven Jazz Festival” At Cornelia Street Cafe: Jan. 8th-10th
3. 11th Annual Latin Culture Celebration At Berklee: A month Of jazz performances & clinics

This performance coincides with the opening of the Association of Performing Arts Presenters Conference at the New York Hilton, which has put a special focus on jazz this year. For those who love the lilting, tropical sounds of vibraphonist Cal Tjader this evening will be a hot ticket.

Performance Background

Sammy Figueroa

Cal Tjader, who recorded almost 80 albums in his long career, and collaborated with Eddie Palmieri, Willie Bobo, Mongo Santamaria, Tito Puente and many others, was one of the great innovators of Latin jazz. His sound, combining the celestial quality of the vibraphone with the intricate swinging rhythms of mambo and salsa, helped establish Latin Jazz as a genre and is considered to be the foundation of “cool jazz” and acid jazz.

- Other Jazz Styles

Artist Info

A classic tribute band , “Sally’s Tomato” strives to capture every nuance of Cal Tjader’s “Willy Bobo” period and is perhaps the first genuine Latin tribute band (as opposed to a ‘cover’ band). The group’s name, “Sally’s Tomato” (from a song that Tjader composed and recorded for the film “Breakfast At Tiffany’s”), reflects the playfulness and lightness of the music. The band will perform Tjader classics such as The Continental, Soul Sauce, Mambo Terrifico, Cuban Fantasy, Alonso and Tu Creas Que.

‘Sally’s Tomato’, formed in November 2008, debuted at the Miami Book Fair and was an instant success, obtaining an enthusiastic following and the blessings of Cal Tjader’s children. Sammy Figueroa, who has been living in South Florida since 2001, gathered together some great musicians for this special project, among them Richard Bravo on timbales, Brian Potts on vibraphone, Alexander Hoyt on piano and Freddy Lugo on bongos. The band will be joined by New York-based bassist Waldo Chavez.

Performance Details

When:
Friday, January 8th, 2010
(Midnight)

Cover:
$20 admission $10 for pre-reservations
Free admission for APAP badgeholders

Location:
Iridium Jazz Club
1650 Broadway (51st St.)
New York, NY 10019
(212) 582-2121
www.iridiumjazzclub.com

Related posts:

1. Iridium Jazz Club Gives A Tribute To Trumpet Legend Freddie Hubbard
2. Iridium Jazz Club Hosts Freda Payne In Tribute To Ella Fitzgerald
3. Iridium Jazz Club Welcomes Eddie Daniels & Bob James

This short little article will give you a better understanding of a jazz performance, meaning how to perceive the music and the musicians. For this, I give a little information about the seating of jazz gigs and how this reflects the mindset of the jazz listener. More importantly, this article will explain when and how to respond to the music you hear (clapping, shouting, dancing, etc).

It is aimed at those who have never or seldom attend jazz concerts and might be interested in how to uphold the “audience member” part of the bargain.

Where to sit

(1) Most jazz gigs offer open seating, and this is actually an extension of the attitude toward the music. Nothing official or formal, just sit where you would like, so you can have a good time. Having said that, here are a couple little tips for the noobies to remember. Like most other concerts, try to avoid the first row center (seating or tables) – especially if you arrive late. Most of the time, this seating is usually reserved for special audience members (i.e. family, friends, and even for the performers at different times in the show). Obviously if there are quite a few people seated, and those front seats/tables aren’t taken, there might a reason for it.

Other than that, it is free game. If that doesn’t narrow it down enough, how about picking a spot where you will have a good line of sight to the musicians. This may be obvious; however let me clarify that this doesn’t necessarily mean that you can see the entire stage. Many times musicians (often lead singers/featured artists) will have their area that they will sit in or occasionally move around in. This is the featured part of the concert, so if you cannot get a seat with the entire group in vision at all times, go for the lead musicians. Some prefer to get very specific vantage points, where they are can see how the musician moves or how he plays the instrument (as opposed to just viewing them head on).

Sitting toward the back is not necessarily a bad thing at all. As I have mentioned, jazz is a little less formal when it comes to seating arrangements, as your interests and comfort are number one priority. Sit where you feel comfortable and listen how you want to listen. This is often where other artists, jazz efficiandos, and other reviewers/media end up sitting.

If you are a “tapper” or “head-bobber” (no, nothing impure intended here), you might want to be positioned a little off to the side – this is not because you might stand out or look ridiculous like if you were at a classical concert (in which case you would be ridiculed); rather it is simply because it could be distracting for other audience members.

Finally, late comers should always move quickly and quietly to the most convenient position (even if it means standing), so as to not distract the musicians or audience members. Pretty common sense, but it needs to be pointed out that this respect is of high priority than your assigned or usual spot (should that be the case).

(2) There is one other scenario regarding seating, and it is of the “dinner and music” variety. If there are assigned seats for the meal (usually determined by a host/hostess), this is where you will be for the show. On rare occasions, seating could change in between the meal and the concert, dictated by the course of events in the night (dinner, break, drink, music).

Applause

Probably one of the most confusing, and at times most controversial, things about the jazz performance is when to clap. Audience members generally enjoy showing their appreciation for the musicians, but most are reluctant to do so because of their inexperience with the music – result: the band thinks they suck because they didn’t hear any response from the audience.

Generally, these are the following times when audience members are expected to clap at a jazz gig: when the band first comes out, after each song, and when the set concludes (usually getting a little louder each time – if you like the group). These are pretty much set in stone, and you shouldn’t have any reluctance in clapping at these times. If you do not know when the end of the song occurs, wait for others to start. This is common in jazz, as the same song is seldom played the same way (even if played during different sets in the same night).

But what about solos? Glad you asked. The solo for the musician is more than their chance to play louder and more extravagant than the others on stage. They are being featured, and they have the opportunity to infuse their own flavor and message into the song. Jazz musicians, on the whole, are very expressive and enjoy leading the audience on a journey with their solo. But more than this, they are offering themselves to the audience and enjoy the response from the listeners. In other words, if there is no response from the crowd, the message has not been received as it was intended. In short, clapping at the end of EACH solo (even when there are multiple solos) is encouraged.

Having said that, there are some guidelines if you don’t want to be picked out of the crowd as “that guy”, but before you start worrying, I can assure you they’re pretty much based on common sense.

(1) Clapping after EACH solo is fine; however keep the clapping to a minimum. Now, that isn’t to say that musicians want to hear golf claps; rather keep the length of the clap brief. This is mostly because the music is still going, and the end of a solo could be an important transition to the next part of the song. This is in contrast with the classical or operatic clap which involves profuse bowing on the part of the performer and many curtain calls.

(2) In general, when there are multiple soloists playing right after the other, there is a progression where the lead or featured musician will be going last. This means there is generally a progression in the volume of the clapping, starting with moderate and ending in a loud. Keep in mind, though, that you should still refrain from any sustained clapping beyond 4 to 5 seconds.

(3) Yelling is generally not the best way to respond after a solo, although the occasional “yeah” or “woo-hoo” can be heard. Let us just point out that this is generally done by those you know the artists personally or who are at least a regular to jazz concerts. When going to your first couple of gigs, you might not want to be the first person to do this. In short, refrain from verbal outbursts or anything that might involve a spotlight being place on you.

(4) The avid jazz listener and frequent guest at jazz gigs will often let you a short comment or even a small clap IN THE MIDDLE of the solo. The reason for this is that they usually hear something in the solo that is very notable and common in jazz – “the quote.” Musicians like to quote themselves and each other, and what this means is that they might throw in a short reference to “pop goes the weasel” or other famous lick mid-solo. Not only is it creative and entertains the crowd with their musicality and musical ability, but it can even quote a musician who has used that line before (maybe even in the same song). For beginners, don’t worry about this. Let the regulars handle this, and don’t feel offended if it happens.

One last bit about applause. The noobie might perceive the “post-solo” clapping to be short and disrespectful, but it is well received. It is enough to hear response and know that the audience is with them, and at the same time, they know the rest of the song can keep going without thunderous applause or other interruption.

Related posts:

1. Spencer Day Concert Review: Hotel Cafe in Hollywood
2. Jamey Aebersold Summer Jazz Workshops At The University of Louisville
3. The Key To Jazz Improvisation: Be a Storyteller

Make Reservations

Background

Al Williams—drummer, entrepreneur and promoter of jazz—has a well-earned reputation as a musical mover and shaker. Williams was born in Pasadena, California, and his love affair with music began at the age of eight when he began studying the clarinet. During high school, he played in the school band, the Boys’ Club Concert Band, and the Los Angeles Philharmonic Youth Band. At the age of seventeen, he finally convinced his parents to let him pursue and develop his interest in playing drums, which has continued to be his main musical love.

While in college, Williams organized his first band, The Modern Jazz Majors, and their enthusiastically-received performances at the Lighthouse in Hermosa Beach launched him into the beginnings of a music career, a career that ultimately branched off into two directions—an entrepreneurial /promotional direction, and, of course, the development of his own musical artistry as a drummer and band leader.

As a band leader, he has three well-received recordings to his credit. Sandance and Let’s Celebrate, bring together international favorites like Grammy Winner Poncho Sanchez, Roy Ayers, The Jazz Crusaders’ Wayne Henderson, and vocalist Barbara Morrison, and his latest Meeting At The Crossroads.

Location:
Spaghettini Grill & Jazz Club
3005 Old Ranch Parkway,
Seal Beach, California 90740
(562) 596-2199
www.spaghettini.com

Related posts:

1. Visit Spaghettini Italian Grill & Jazz Club in Seal Beach
2. Bruce Forman: Presented by The California Jazz Arts Society
3. Bernie Williams To Perform With The Les Paul Trio At Iridium Jazz Club

Listen To A Jazz Piano Christmas 2009 (stream)

The Lineup

The main event began with Eldar Djangirov’s romp through Mel Torme’s “The Christmas Song.” The young Kansas City native, who goes by just his first name, landed a major-label recording contract with Sony before he was old enough to vote. Only 22, Eldar was only 2 years old when A Jazz Piano Christmas began. But for his second tune, he invited 88-year-old Billy Taylor to duet with him — a performance heard here as an online-only exclusive.

Pianist Robert Glasper has won attention for fusing jazz ideas with hip-hop sensibilities — and often producing music with rappers and neo-soul singers. His latest album is titled Double Booked, and he’s not kidding. On the morning that A Jazz Piano Christmas was recorded, he was on the Today show in New York with soul singer Maxwell. He jumped on a train for Washington and performed a rambling take on Thad Jones’ “A Child Is Born.”

Next up: Patricia Barber, who plays piano and sings. But she’s not a jazz singer in a classic sense; she’s also known for her original songwriting. Barber started with an original take on “O Tannenbaum,” heard here as a Web exclusive, and then went into an original composition called “The New Year’s Eve Song.”

Many remember Joe Sample from his days in the early 1960s as a member of the Jazz Crusaders. For more than five decades, he’s been a presence in jazz and sometimes even the Billboard pop charts; he mixes a touch of swing with the bluesy roots of Houston, his hometown. For NPR’s special, he sketched out bold, richly voiced variations on “O Little Town of Bethlehem” and “The Little Drummer Boy.”

The last pianist of the evening has a long, remarkable career in music, and not always from behind the piano. He’s been a television and radio host sharing his love of jazz with audiences around the country. And he’s been very generous with student musicians in his hometown of Chicago. NEA Jazz Master Ramsey Lewis emerged to play John Coltrane’s lesser-heard “Dear Lord,” and then welcomed Billy Taylor to join him on Taylor’s charming original, “Merry Christmas.”

Listen To A Jazz Piano Christmas 2009 (stream)

Related posts:

1. Press Release: Rhonda Silver releases “Christmas on Credit,” hits home with many this Christmas season
2. Wayne Bergeron & After Hours Brass Release Christmas Album: “Music & Mistletoe”
3. Talented a cappella Group Straight No Chaser performs at “Christmas in Washington”