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Marcus Miller

mercredi 19 janvier 2011

. Funky Bass with Maestro Victor Wooten .














Steven Parke Photography







Renowned bass guitarist Victor Wooten has music in his genes.

The youngest of five in a musical family, Wooten began touring with the Wooten Brothers Band when he was 5 years old.


In adulthood, Wooten first made a name for himself as the bass player in the bluegrass/jazz fusion group Bela Fleck and the Flecktones and through countless collaborations and solo projects.


Wooten's talents have won him five Grammy Awards as well as Bass Player magazine's "Player of the Year" title three years in a row.














jeudi 6 janvier 2011

. New Orleans On JazzSet : Jon Cleary, Henry Butler, Allen Toussaint . Live at Kennedy Center W.Dc .














Kennedy Center Salle Jazz en 3D
K C JAZZ CLUB




New Orleans is not only the cradle of jazz. It's also the birthplace of great jazz piano, dating back to the early 1900s, when Jelly Roll Morton tickled the ivories. Hear three pianists who are upholding that great tradition — Jon Cleary, Henry Butler and Allen Toussaint — onstage at the Kennedy Center in Washington, D.C., with Keys to New Orleans.










Jon Cleary & The Absolute Monster Gentlemen performing at the New Orleans Jazz & Heritage Festival on May 3, 2009
.



Clayton Call
Photo







Jon Cleary was born in England and came to New Orleans at age 17 to immerse himself in the city's music and culture.

He arrived as a guitarist without his axe, moved into a house with a piano and changed instruments.

Now, he's one of the most soulful R&B keyboard men in town. He's gigged with such Bayou blues luminaries as Earl King (1934-2003) and Walter "Wolfman" Washington, Taj Mahal, Bonnie Raitt and John Scofield.

On JazzSet, Cleary leads off with Crescent City composers and originals.









Photos by Jerry Moran







The next man up is New Orleans native Henry Butler, a classically trained musician who studied jazz with master pianists Harold Mabern, George Duke and Sir Roland Hanna.

In recent years, he's broadened his scope to work with bluesman Corey Harris and guitarist Leo Nocentelli of The Meters.

Butler opens his segment with an original that captures the feeling of home: "Orleans Inspiration.

" When he moves on to "(Sittin' On) The Dock of the Bay" and Toussaint's "Workin' in a Coal Mine," your hair may go perpendicular.



















Then Toussaint steps on the stage and says, "Henry left a few keys."

The Recording Academy recently honored Toussaint with a lifetime-achievement Grammy for his contributions as a singer and songwriter, pianist, arranger and producer.


From his 1950s work with Fats Domino and Lee Dorsey to his chart-topping 1970s hits (short list: "Lady Marmalade" by Patti LaBelle, The Pointer Sisters' "Yes We Can Can," Bonnie Raitt's "What Do You Want the Boy To Do?" and Glen Campbell covering "Southern Nights") to present-day collaborations with Elvis Costello, Toussaint has created a unique, rich legacy.

Singing at the piano, he shares some of it here.












Set Lists



Jon Cleary


"Chartres Street Boogie" (Cleary)


"Just Telephone Me" (Sweet Emma Barrett)


"Been and Gone" (Cleary)


"Farewell to Storyville" (Clarence Williams)


"Pops Dilemma" (James Booker)



Henry Butler


"Orleans Inspiration" (Butler)


"Dock of the Bay" (Otis Redding)


"Coal Mine" (Allen Toussaint)



Allen Toussaint


"We Are America" (Unknown)


"Yes We Can Can" (Toussaint)


"Mama You Been On My Mind" (Bob Dylan)


"Mr. Mardi Gras" (Toussaint)


"Southern Night" (Toussaint)



Originally recorded Nov. 7, 2008























dimanche 2 janvier 2011

. Wes Montgomery .

















The jazz guitar of Wes Montgomery, deemed "the biggest, warmest, fattest sound on record," still reverberates today, nearly forty years after his death.

The most influential, widely admired jazz guitarist since Charlie Christian's heyday, Wes re-invented the instrument with his thumb-plucking technique, his innovative approach to playing octaves, and his inventive, masterful execution of complex lines. In the short span of a 9 year recording career as a leader, his name became synonymous with the jazz guitar.

Despite the sophistication of his technique, Wes had no formal musical education.

Born on March 6th, 1923 in Indianapolis, Wes grew up making music with his brothers, several of whom also became professional musicians.

Electric bass guitarist Monk Montgomery recalls buying his brother his first guitar, a four-string tenor, on which 12-year-old Wes demonstrated immediate proficiency.

Wes learned by jamming with his brothers and by emulating Charlie Christian, who inspired Wes to pursue jazz guitar professionally.











Wes Montgomery's first record as a leader was the result of two trio sessions in October 1959 (with Mel Rhyne, organ and Paul Parker, drums).

Among the highlights are this Jerome Kern number, where a relaxed groove masks the subtle intricacy of Montgomery's solo lines and the supple warmth of his tone.













After his first big-time gig, touring with Lionel Hampton's band, Wes returned home to Indianapolis, where he worked days to support his growing family and played guitar in local bars all night.

Meanwhile, Wes' brothers were enjoying some degree of success with their group, the Mastersounds, and they invited Wes to record with them to gain the gifted guitarist greater exposure.

Sure enough, word spread and soon musicians like Cannonball and Nat Adderley were flocking to the Missile Room to witness the new sensation.

Riverside Records producer Orin Keepnews was blown away by Wes' virtuosity and signed him on for 25 sessions.

Wes' second album, The Incredible Jazz Guitar of Wes Montgomery, earned him Downbeat magazine's "New Star" award in 1960.

Wes' lush, inimitable sound was a product of his unusual stylistic approach.

Guitarist Lee Ritenour explains how Wes played with his thumb as opposed to a pick, freeing himself from rhythmic constraints and typical phrasing.

According to Wes, thumb-plucking and his technique of "playing two notes at the same time an octave apart" were both accidental revelations.

While Wes was not the only guitarist to utilize the octave approach, he did so with incomparable "freedom and fluidity," and the technique "became one of his trademarks."












When Riverside Records folded, the Verve label took Wes Montgomery onto their roster.

It proved a wise move: some of his best performances on record were Verve releases.

This 1964 big band rendition of the Juan Tizol/Duke Ellington standard features Montgomery's resonant chords particularly well, not to mention his facility and energy at fast tempos.














When Riverside Records went bankrupt, Creed Taylor of Verve Records signed the acclaimed guitarist, steering his career in a different direction.

Although Wes recorded a few straight jazz albums with Verve, including his triumphant Smokin' at the Half Note, Taylor sought to bring Wes' music to a broader audience, convincing him to cover the R&B hit, "Goin' Out of My Head."

The album, which earned Wes a Grammy Award, was his ticket to "crossing over" and made a name for him on the pop scene, enabling him to support his wife and seven children.


To the chagrin of jazz purists, Wes did not record another jazz album after 1965.

However, in concert, as critic Gary Giddins attests, Wes continued to improvise stunning solos until his death of a heart attack in 1968.

In a remarkably brief time frame, Wes Montgomery, a kind, modest man and a magnificent musician, left a legacy of enormous distinction to the jazz community














Wes Montgomery had his best-selling records with what were, by his own description, pop tunes.
Encouraged by producer Creed Taylor, he waxed several such discs for Verve and A&M in the mid-late 1960s.

However, he always maintained a jazz sensibility to his solos, as evidenced in this much-anthologized 1965 recording (featuring Oliver Nelson's orchestra).













































Watch 'Jazz Icons' Trailer :



This DVD chronicles several of Montgomery's live 1965 performances in Europe. Note: QuickTime required












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