"And you're ready to die for me?"
The bodyguard (1992), Mick Jackson
Whitney Elizabeth Houston
(1963-2012)
The bodyguard (1992), Mick Jackson
Whitney Elizabeth Houston
(1963-2012)
Domingo, 12 de Fevereiro de 2012
Quinta-feira, 9 de Fevereiro de 2012
Clips de letras # 23
By the time I was fifteen, I was trying to play at the piano a little bit, improvising at the piano, trying to play Fats Waller transcriptions and listen to Art Tatum and getting really discouraged with the piano.
Because of Art Tatum. I saw Art Tatum when I was thirteen, twice. That was really the end of the piano for me. Even the Fats Waller transcriptions – my hands weren't big enough to reach those tenths. I just don't have the right touch for the piano. So I had found a cousin's clarinet in the closet and I started fooling around with that. Then at the age of sixteen I heard Sidney Bechet on a record, playing "The Mooch". The combination of materials – the Ellington piece (which I knew already), and the soprano saxophone (Bechet's sound) – were like the magic call to me.
So, at sixteen I took up the soprano. Later when I went to this school they wouldn't accept me as a soprano student so I chose alto. I bought an alto but I was the worst alto player you ever heard in your life. I mean really a wretched alto. I just had no feeling for it at all. And then later on, I tried tenor for a while. I was no good on tenor either. There were so many great tenor players around and I loved Lester Young but it was impossible. So the tenor was not for me. And the clarinet I gave up because it was too hard. The soprano had so many problems that I just wanted to concentrate on that.
Later when I was working with Max Kaminsky and his band, I told him one day, "Look, I'm gonna stop playing the clarinet. I just want to play the soprano." He said, "You're crazy. You wont get any work on it." And he was right – he fired me. Nobody else called me to play because soprano sax didn't exist. The instrument just didn't exist.
(in Friedlander, Lee: American musicians)
Because of Art Tatum. I saw Art Tatum when I was thirteen, twice. That was really the end of the piano for me. Even the Fats Waller transcriptions – my hands weren't big enough to reach those tenths. I just don't have the right touch for the piano. So I had found a cousin's clarinet in the closet and I started fooling around with that. Then at the age of sixteen I heard Sidney Bechet on a record, playing "The Mooch". The combination of materials – the Ellington piece (which I knew already), and the soprano saxophone (Bechet's sound) – were like the magic call to me.
So, at sixteen I took up the soprano. Later when I went to this school they wouldn't accept me as a soprano student so I chose alto. I bought an alto but I was the worst alto player you ever heard in your life. I mean really a wretched alto. I just had no feeling for it at all. And then later on, I tried tenor for a while. I was no good on tenor either. There were so many great tenor players around and I loved Lester Young but it was impossible. So the tenor was not for me. And the clarinet I gave up because it was too hard. The soprano had so many problems that I just wanted to concentrate on that.
Later when I was working with Max Kaminsky and his band, I told him one day, "Look, I'm gonna stop playing the clarinet. I just want to play the soprano." He said, "You're crazy. You wont get any work on it." And he was right – he fired me. Nobody else called me to play because soprano sax didn't exist. The instrument just didn't exist.
(in Friedlander, Lee: American musicians)
Domingo, 5 de Fevereiro de 2012
Pois, pois ... # 155
"I'm real sorry they picked you to defend that nigger that raped my Mayella. I don't know why I didn't kill him myself instead of goin' to the sheriff. That would have saved you and the sheriff and the taxpayers lots of trouble..."
To kill a Mockingbird (1962), Robert Mulligan
Quotes # 208
We get a lot of flak from certain people that say we're not keeping the tradition alive.
That's not our responsability. Louis Armstrong and Miles Davis sounded very different even during those times..
Trombone Shorty
That's not our responsability. Louis Armstrong and Miles Davis sounded very different even during those times..
Trombone Shorty
Sábado, 4 de Fevereiro de 2012
Quotes # 207
(Artwork: Ian Johnson)
The idea is more important than the style or the contents of the style you're trying to play in.
Ornette Coleman
Ornette Coleman
Domingo, 29 de Janeiro de 2012
Francis Wolff
Dexter Gordon
Thad Jones
Curtis Fuller
Kenny Dorham & Horace Silver
Bobby Timmons
Paul Chambers
Ike Quebec & Philly Joe Jones
Fotografias de Francis Wolff
Quotes # 206
(Foto de Don Cherry por Peter Williams)
When people believe in boundaries, they become part of them.
Don Cherry
Don Cherry
Livros de Jazz # 22
Glorious days and nights
(A jazz memoir)
Herb Snitzer
50 Anos de memórias de um fotógrafo de jazz, com uma especial incidência nos anos que Snitzer passou na Big Apple - 1957 a 1964.
Além de retratos icónicos de Armstrong, Nina Simone e Monk, encontramos nestas páginas uma galeria que nos mostra desde Lester Young no Five Spot Café, em 1958, à cantora Dee Dee Bridgewater no ano 2000.
A acompanhar estes excelentes retratos, em B&W, Snitzer revela-nos também impressões e episódios dos seus relacionamentos com músicos de jazz. De "on the bus with Pops and Duke" ao Bern International Jazz Festival.
Além de retratos icónicos de Armstrong, Nina Simone e Monk, encontramos nestas páginas uma galeria que nos mostra desde Lester Young no Five Spot Café, em 1958, à cantora Dee Dee Bridgewater no ano 2000.
A acompanhar estes excelentes retratos, em B&W, Snitzer revela-nos também impressões e episódios dos seus relacionamentos com músicos de jazz. De "on the bus with Pops and Duke" ao Bern International Jazz Festival.
Sábado, 28 de Janeiro de 2012
Pois, pois ... # 153
"- There's a deck of cards with naked women on it.
- Let me guess, you use it to play solitaire."
The curse of the jade scorpion (2001), Woody Allen
- Let me guess, you use it to play solitaire."
The curse of the jade scorpion (2001), Woody Allen
Quinta-feira, 26 de Janeiro de 2012
Uma foto, uma música # 29
Este post é dedicado ao meu amigo e conterrâneo José Luís.
Jazzófilo de gema, é o loquaz representante do Jazz em Cebolais de Cima e arredores.
Veio a propósito da sua "longa e árdua" pesquisa sobre qual seria o tema que servia de apresentação ao saudoso programa Jazz entre amigos, de Juan Claudio Cifuentes e Javier Díez Moro.
Que aprovechén!
Jazzófilo de gema, é o loquaz representante do Jazz em Cebolais de Cima e arredores.
Veio a propósito da sua "longa e árdua" pesquisa sobre qual seria o tema que servia de apresentação ao saudoso programa Jazz entre amigos, de Juan Claudio Cifuentes e Javier Díez Moro.
Que aprovechén!
(Foto de Woody Herman por Giuseppe Pino)
Woody Herman
Tunin' in
Duke and Count take most of it, and we go for what's left.
Woody Herman
Woody Herman
Segunda-feira, 23 de Janeiro de 2012
Etta James
Jamesetta Hawkins
Cantora de Jazz, Blues, R&B e Gospel
(Foto de Etta James por Giuseppe Pino)
(1938-2012)
Cantora de Jazz, Blues, R&B e Gospel
(Foto de Etta James por Giuseppe Pino)
(1938-2012)
Sábado, 14 de Janeiro de 2012
NEA Jazz Masters 2012
Decorreu em 10 de Janeiro a cerimónia e o concerto referentes aos NEA Jazz Masters Awards para este ano de 2012.
Os agraciados foram:
. Jack DeJohnette (drummer, keyboardist, composer)
. Von Freeman (saxophonist)
. Charlie Haden (bassist, composer, educator)
. Sheila Jordan (vocalist, educator)
. Jimmy Owens (educator, trumpeter, flugelhornist, composer, arranger)
. Jack DeJohnette (drummer, keyboardist, composer)
. Von Freeman (saxophonist)
. Charlie Haden (bassist, composer, educator)
. Sheila Jordan (vocalist, educator)
. Jimmy Owens (educator, trumpeter, flugelhornist, composer, arranger)
Quinta-feira, 12 de Janeiro de 2012
Os melhores CDs de Jazz de 2011
Já este ano tinha feito várias pesquisas no sentido de consultar a Jazz critics’ poll do Village Voice para o ano de 2011. Sem sucesso!
Foi através do blog de Doug Ramsey que tomei conhecimento que Francis Davis, o homem da VV poll, transferiu aquela que é tida como a opinião do ensemble da crítica de jazz norte-americana para o site Rhapsody.
Assim, os 10 melhores Cds de jazz do ano de 2011 foram:
Foi através do blog de Doug Ramsey que tomei conhecimento que Francis Davis, o homem da VV poll, transferiu aquela que é tida como a opinião do ensemble da crítica de jazz norte-americana para o site Rhapsody.
Assim, os 10 melhores Cds de jazz do ano de 2011 foram:
Sonny Rollins - Road Shows, Vol. 2 (Doxy/Emarcy)
Ambrose Akinmusire - When the Heart Emerges Glistening (Blue Note)
Joe Lovano Us Five - Bird Songs (Blue Note)
Miguel Zenón - Alma Adentro: The Puerto Rican Songbook (Marsalis Music)
Craig Taborn - Avenging Angel (ECM)
Matthew Shipp - Art of the Improviser (Thirsty Ear)
Konitz, Mehldau, Haden & Motian - Live at Birdland (ECM)
Rudresh Mahanthappa - Samdhi (ACT)
JD Allen Trio - Victory! (Sunnyside)
(10) Terri Lyne Carrington - The Mosaic Project (Concord Jazz)
(10) Charles Lloyd & Maria Farantouri - Athens Concert (ECM)
A melhor reedição:
Miles Davis Quintet, Live in Europe 1967 - The Bootleg Series, Volume 1 (Sony Legacy)
A melhor voz:
Gretchen Parlato - The Lost and Found (ObliqSound)
O melhor jazz latino:
Miguel Zenón - Alma Adentro: The Puerto Rican Songbook (Marsalis Music)
Mais resultados, e as escolhas individuais dos que votaram, aqui.
Ambrose Akinmusire - When the Heart Emerges Glistening (Blue Note)
Joe Lovano Us Five - Bird Songs (Blue Note)
Miguel Zenón - Alma Adentro: The Puerto Rican Songbook (Marsalis Music)
Craig Taborn - Avenging Angel (ECM)
Matthew Shipp - Art of the Improviser (Thirsty Ear)
Konitz, Mehldau, Haden & Motian - Live at Birdland (ECM)
Rudresh Mahanthappa - Samdhi (ACT)
JD Allen Trio - Victory! (Sunnyside)
(10) Terri Lyne Carrington - The Mosaic Project (Concord Jazz)
(10) Charles Lloyd & Maria Farantouri - Athens Concert (ECM)
A melhor reedição:
Miles Davis Quintet, Live in Europe 1967 - The Bootleg Series, Volume 1 (Sony Legacy)
A melhor voz:
Gretchen Parlato - The Lost and Found (ObliqSound)
O melhor jazz latino:
Miguel Zenón - Alma Adentro: The Puerto Rican Songbook (Marsalis Music)
Mais resultados, e as escolhas individuais dos que votaram, aqui.
Quarta-feira, 11 de Janeiro de 2012
Quotes # 205
Non mi va di confrontare l'attualità con il passato.
Allora tutto era più puro, perfino il latte che si beveva.
Roy Haynes
Allora tutto era più puro, perfino il latte che si beveva.
Roy Haynes
Caíram nas redes # 2
Yakov Okun
New York encounter (rec. 2010)
Gebhard Ullmann - Tá lam 11
Mingus! (rec. 2010)
Terça-feira, 10 de Janeiro de 2012
3 Desejos # 48
"Money, money, money!
Somewhere to play where people aren't just comparing you to someone else. Where they have a brochure on the table telling you all about the musician.
Somewhere to play - not a cellar. A place with dressing rooms. And no rinky-dink piano a man can't take a solo on. Or the kind of acoustics when a drummer hits a sound it keeps on ringing for half an hour afterwards."
Somewhere to play where people aren't just comparing you to someone else. Where they have a brochure on the table telling you all about the musician.
Somewhere to play - not a cellar. A place with dressing rooms. And no rinky-dink piano a man can't take a solo on. Or the kind of acoustics when a drummer hits a sound it keeps on ringing for half an hour afterwards."
Quarta-feira, 4 de Janeiro de 2012
Bonitas idades
Happy 70th anniversary Mr. McLaughlin
(John McLaughlin por Ross Halfin)
Happy 90th anniversary Mr. Wess
(Frank Wess por John Rogers)
(John McLaughlin por Ross Halfin)
Happy 90th anniversary Mr. Wess
(Frank Wess por John Rogers)
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