segunda-feira, 28 de maio de 2012
One of 14 children, born in the small village of Barrio Santos Suarez, Havana, Cruz was drawn to music from an early age. Her first pair of shoes was a gift from a tourist for whom she sang. In addition to spending many evenings singing her younger siblings to sleep, Cruz sang in school productions and community gatherings. Taken to cabarets and nightclubs by an aunt, she was introduced to the world of professional music. At the encouragement of a cousin, Cruz began to enter and win local talent shows. Although her father attempted to guide her toward a career as a teacher, Cruz continued to be lured by music. In a 1997 interview, she said, "I have fulfilled my father's wish to be a teacher as, through my music, I teach generations of people about my culture and the happiness that is found in just living life. As a performer, I want people to feel their hearts sing and their spirits soar." Enrolling in Cuba's Conservatory of Music in 1947, Cruz found her earliest inspiration in the singing of Afro-Cuban vocalist Paulina Alvarez. Her first break came when she was invited to join the band la Sonora Matancera in 1950. The group was revered as the Latin equivalent of the Duke Ellington Orchestra. Cruz remained with the group for 15 years, touring throughout the world. She married the band's trumpet player Pedro Knight on July 14, 1962. With Fidel Castro's assuming control of Cuba in 1960, Cruz and Knight refused to return to their homeland and became citizens of the United States. Although they initially signed to perform with the orchestra of the Hollywood Palladium, Cruz and Knight eventually settled in New York. Knight became Cruz's manager in 1965, a position he held until the mid-'90s when he began to devote his attention to serving as her musical director and conductor of her band.
Leaving Sonora Matancera's band in 1965, Cruz launched her solo career with a band formed for her by Tito Puente. Despite releasing eight albums together, the collaboration failed to achieve commercial success. Cruz and Puente resumed their partnership with a special appearance at the Grammy Award ceremonies in 1987. Signed by Vaya, the sister label of Fania, Cruz recorded with Oscar D'Leon, Cheo Feliciano, and Hector Rodriquez in the mid- to late '60s. Cruz's first success since leaving Sonora Matancera came in 1974 when she recorded a duo album, Celia and Johnny, with Johnny Pacheco, trombone player and the co-owner of Fania. She subsequently began appearing with the Fania All Stars. Cruz's popularity reached its highest level when she appeared in the 1992 film The Mambo Kings. Cruz also appeared in the film The Perez Family. She sang a duet version of "Loco de Amor," with David Byrne, in the Jonathan Demme movie Something Wild. In 1998, Cruz released Duets, an album featuring her singing with Willie Colon, Angela Carrasco, Oscar D'Leon, Jose Alberto "El Canario," and la India. Cruz continued to record and perform until sidelined by a brain tumor in 2002. While recovering from surgery to remove the tumor, she managed to make it in to the studio in early 2003 to record Regalo de Alma. Her surgery was only partially successful and she died July 16, 2003. The passing of the "Queen of Salsa" left a huge gap in Latin music, but also a remarkable catalog to document her reign. AMG. listen here
Cuban pianist, bandleader, composer and arranger Chucho Valdes is a highly accomplished and influential figure in the world of Latin and Afro-Cuban jazz. Born in Quivican in 1941, Valdes is the son of the similarly influential Cuban bandleader Bebo Valdes from whom Chucho first received piano lessons. Having exhibited musical talent from a young age, Valdes eventually enrolled in the Municipal Music Conservatory of Havana, graduating at age 14. Inspired by such jazz pianists as Art Tatum and Thelonious Monk, Valdes quickly formed his first jazz trio and began a fruitful period that found him landing several high-profile performance jobs in hotels around Havana including performing with the Sabor De Cuba Orchestra which was directed by his father. These performances continued throughout the '60s and allowed Valdes not only to perform with the best musicians in Cuba, but begin to formulate his own unique ideas about mixing jazz, classical and Cuban styles of music. In 1970, Valdes and his combo became the first Cuban jazz group to perform abroad after appearing at the Jazz Jamboree International Jazz Festival in Poland.
In 1973, formed the innovative and highly influential Latin jazz ensemble Irakere. The group featured various members of the Orquesta Nacional de Musica Moderna including such stars of the Cuban music scene as trumpeter Arturo Sandoval and alto saxophonist Paquito D'Rivera. With its unique mix of jazz, rock, funk, classical and traditional Cuban rhythms, Irakere was an explosive and creative ensemble that quickly caught the attention of international audiences. Although there have been many compilations of Irakere, it was the band's Grammy winning 1979 self-titled concert album, recorded at the Newport Jazz Festival a year before, that really sparked international interest in the group. Although the band's line-up has changed over the years -- D'Rivera defected to the United States in 1980 and Sandoval (who did not defect until 1990) formed his own group in 1981 -- Irakere continues to perform and record with Valdes and new members.
Although Valdes never left Cuba, the four-time Grammy winning and three-time Latin Grammy winning virtuoso has kept a high-profile touring schedule and in 2006 was named the Goodwill Ambassador of the Food and Agriculture Organization of the United Nations. Since the '80s, Valdes has released a steady flow of albums including 1986's Lucumi (Messidor), 1998's Bele Bele en la Habana (Blue Note), 2000's Live at the Village Vanguard (Blue Note), 2002's Fantasia Cubana: Variations on Classical Themes (Blue Note) and 2010's Chucho's Steps. AMG. listen here
terça-feira, 22 de maio de 2012
Pérez's first big break came when he was asked to join Dizzy Gillespie's United Nations Orchestra (he was the youngest member), and he worked with the orchestra from 1989 until Gillespie's passing in 1992. His tenure with Gillespie's band brought him recognition, as Gillespie's album Live at the Royal Festival Hall (for the Enja label) won a Grammy. In 1994, Pérez recorded with trumpeter Arturo Sandoval for the latter's Grammy-winning album Danzon.
After nearly ten years accompanying other great jazz musicians, by 1993 Pérez switched his focus to leading his own bands, and he released two excellent recordings in 1993 and 1994, Danilo Perez and The Journey, both for the RCA/Novus label. Down Beat magazine hailed The Journey as one of the best albums of the '90s. In 1995, Wynton Marsalis asked Pérez to join his band, and later that year he performed with the Panamanian Symphony Orchestra, which showcased an orchestral version of The Journey. In 1996 and 1998, he released two albums for the Impulse! label, PanaMonk, and Central Avenue. He earned his first Grammy nomination for Central Avenue, which was produced by legendary jazz producer and GRP label chairman Tommy LiPuma. That album is made up of mostly originals, but he and his band do interpret two classics in their own way, the ballad "Lush Life" and John Coltrane's "Impressions," both of which take on a fresh sound. With four albums under his belt by the late '90s, Pérez's place in the new generation of jazz musicians was firmly ensconced. All this recognition led to his joining the Wayne Shorter Quartet in 2002. Pérez's eclectic keyboard stylings are showcased on Shorter's albums Alegría and Footprints Live!, both for Verve Records.
Pérez subsequently began serving as a goodwill cultural ambassador of Panama for UNICEF, and as one of the co-founders of the Panama Jazz Festival. He also serves with the faculty of the New England Conservatory and the Berklee College of Music in Boston. Since the release of Central Avenue in 1998, Pérez has released a number of other albums under his own name, including Motherland, ...Til Then, in 2000 and 2003, respectively, for Verve, and Live at the Jazz Showcase, in 2005 for ArtistShare. On all three albums he's accompanied by longtime sidemen bassist Ben Street and drummer/percussionist Adam Cruz, and with the two Verve releases, by a bevy of top names in jazz, including vocalists Claudia Acuña, Lizz Wright, and Richard Bona, violinist Regina Carter, and bassist John Patitucci. On 2008’s Across the Crystal Sea, Pérez and his group, including bassist Christian McBride, drummer Lewis Nash, and percussionist Luis Quintero, are accompanied by Claus Ogerman’s string arrangements, and 2010’s Providencia found Pérez -- inspired by fatherhood -- exploring themes related to creating a healthy and viable future for the children of today. AMG. listen here
A warm welcome for a unique musical fusion that seemed so natural. The meeting of the Mandinka tradition and the freedom of Jazz. The association between the Kora, West African percussion and Afro American swing. The dialogue between the griot and the blue note.
In the land of the palaver tree, all is matter of dialogue. The Kora Jazz Trio is the proof of that : meeting between jazzmen and old wise men, between tradition and improvisation. And mostly dialogue between the kora and the piano, two instruments so close - both rhythmic and solist - but separated by an ocean.
Two cousins that were separated too early, each on a continent : the Kora in the streets of West Africa, the piano in the dark clubs of Western cities. Today, they meet again with the Kora Jazz Trio's 4th ALBUM, and have many things to tell us. listen here
After the war, Korner started playing piano and then guitar, and in 1947 he tried playing electric blues, but didn't like the sound of the pick-ups that were then in use, and returned to acoustic playing. In 1949, he joined Chris Barber's Jazz Band and in 1952 he became part of the much larger Ken Colyer Jazz Group, which had merged with Barber's band. Among those whom Korner crossed paths with during this era was Cyril Davies, a guitarist and harmonica player. The two found their interests in American blues completely complementary, and in 1954 they began making the rounds of the jazz clubs as an electric blues duo. They started the London Blues and Barrelhouse Club, where, in addition to their own performances, Korner and Davies brought visiting American bluesmen to listen and play. Very soon they were attracting blues enthusiasts from all over England.
Korner and Davies made their first record in 1957, and in early 1962, they formed Blues Incorporated, a "supergroup" (for its time) consisting of the best players on the early-'60s British blues scene. Korner (guitar, vocals), Davies (harmonica, vocals), Ken Scott (piano), and Dick Heckstall-Smith (saxophone) formed the core, with a revolving membership featuring Charlie Watts or Graham Burbridge on drums, Spike Heatley or Jack Bruce on bass, and a rotating coterie of guest vocalists including Long John Baldry, Ronnie Jones, and Art Wood (older brother of Ron Wood). Most London jazz clubs were closed to them, so in March of 1962 they opened their own club, which quickly began attracting large crowds of young enthusiasts, among them Mick Jagger, Keith Richards, and Brian Jones, all of whom participated at some point with the group's performances; others included Ian Stewart, Steve Marriott, Paul Jones, and Manfred Mann. In May of 1962, Blues Incorporated was invited to a regular residency at London's Marquee Club, where the crowds grew even bigger and more enthusiastic. John Mayall later credited Blues Incorporated with giving him the inspiration to form his own Bluesbreakers group.
Record producers began to take notice, and in June of 1962 producer Jack Good arranged to record a live performance by the band. The resulting record, R&B from the Marquee, the first full-length album ever made by a British blues band, was released in November of 1962. The album consisted of largely of American standards, especially Willie Dixon numbers, rounded out with a few originals. At virtually the same time that Blues Incorporated's debut was going into stores, Cyril Davies left the group over Korner's decision to add horns to their sound. Korner soldiered on, but the explosion of British rock in 1963, and the wave of blues-based rock bands that followed, including the Rolling Stones, the Animals, and the Yardbirds undercut any chance he had for commercial success. His more studied brand of blues was left stranded in a commercial backwater -- there were still regular gigs and recordings, but no chart hits, and not much recognition. While his one-time acolytes the Rolling Stones and the Cream made the front pages of music magazines all over the world, Korner was relegated to the blues pages of England's music papers, and, though not yet 40, to the role of "elder statesman."
For a time, Korner hosted Five O'Clock Club, a children's television show that introduced a whole new generation of British youth to American blues and jazz. He also wrote about blues for the music papers, and was a detractor of the flashy, psychedelic, and commercialized blues-rock of the late '60s, which he resented for its focus on extended solos and its fixation on Chicago blues. He continued recording as well, cutting a never-completed album with future Led Zeppelin vocalist Robert Plant in early 1968. Korner's performing career in England was limited, but he could always play to large audiences in Europe, especially in Scandinavia, and there were always new Korner records coming out. It was while touring Scandinavia that he first hooked up with vocalist Peter Thorup, who became Korner's collaborator over the next several years in the band New Church. After his dismissal from the Rolling Stones, Brian Jones considered joining New Church; Korner, however, rejected the idea, because he didn't want his new band to be caught up in any controversy. In 1972, he became peripherally involved in the breakup of another band, inheriting the services of Boz Burrell, Mel Collins, and Ian Wallace when they quit King Crimson.
It was during the '70s that Korner had his only major hit, as leader (with Peter Thorup) of the 25-member big-band ensemble CCS. Their version of Led Zeppelin's "Whole Lotta Love" charted in England, and led to a tour and television appearances. In response, Korner released Bootleg Him, a retrospective compiled from tapes in his personal collection, including recordings with Robert Plant, Mick Jagger, and Charlie Watts. Korner played on the "supersession" album B.B. King in London, and cut his own, similar album, Get Off My Cloud, with Keith Richards, Peter Frampton, Nicky Hopkins, and members of Joe Cocker's Grease Band. When Mick Taylor left the Rolling Stones in 1975, Korner was mentioned as a possible replacement, but the spot eventually went to Ron Wood. In 1978, for Korner's 50th birthday, an all-star concert was held featuring Eric Clapton, Paul Jones, Chris Farlowe, and Zoot Money, which was later released as a video.
In 1981, Korner formed the last and greatest "supergroup" of his career, Rocket 88, featuring himself on guitar, Jack Bruce on upright bass, Ian Stewart on piano, and Charlie Watts on drums, backed by trombonists and saxmen, and one or two additional keyboard players. They toured Europe and recorded several gigs, the highlights of which were included on a self-titled album released by Atlantic Records. In contrast to the many blues-rock fusion records with which Korner had been associated, Rocket 88 mixed blues with boogie-woogie jazz, the group's repertory consisting largely of songs written by W. C. Handy and Pete Johnson.
After a well-received appearance at the Cambridge Folk Festival in the early '80s, there were rumors afterward that he intended to become more active musically, but his health was in decline by this time. A chain smoker all of his life, Korner died of lung cancer at the beginning of 1984. AMG. listen here
sábado, 12 de maio de 2012
To reconnect to the Jason Moran/Greg Osby theme, I have also been listening to New Directions. This remarkable recording has Osby on alto, Mark Shim on tenor, Moran on Piano, Stefon Harris on vibes, Tarus Mateen on bass, and Nasheet Waits on drums. If you are looking for an imaginative and superbly crafted version of jazz hits, have I got an album for you mon frere. I am playing 'Theme from Blowup', a well known Herbie Hancock composition. It's very Hancock, except for being completely different. Get the album. You'll love their interpretation of Lee Morgan's 'Sidewinder'.
Finally, I have a couple cuts from Osby's Inner Circle. Osby, Moran, Harris, and Mateen again, with Eric Harland on drums. Every note is surprising. I am playing 'Equalatogram' and 'All Neon Like'. The first features a marvelous interplay between Harris and Moran. The second is soulful and delicate. listen here
Beginning with singer/guitarist Simon Day and bassist Victor Levi's garage band Danger Mouse, Ratcat's following in Sydney grew thanks to several live performances among the skate-punk scene. In December 1987, the band released their eponymous debut mini-LP on the Waterfront label. Their debut full-length album, The Nightmare, followed in 1989 and led to a deal with the rooArt label. They contributed the single "You Get Me By" to the label's various-artists compilation Youngblood II.
But it was The Tingles EP, released in November 1990, that gave the band their biggest success. It raced to number one on the Australian national charts, as did the catchy single "Don't Go Now." The album, Blind Love, released in July 1991, also went to number one nationally. The band then opened for INXS' X tour as well as performed their own concerts. AMG. listen here
terça-feira, 8 de maio de 2012
What we get when we put these two creative forces together is a long, labyrinthine dream that enters the slipstreams of jazz, rock, groove, and experimental music. The dynamics on this set are controlled carefully, not so much by direction but by acute listening and a distinct respect for the feel and movement of any particular piece. Most of the pieces are long, ranging between seven and 19 minutes. If this sounds a bit like "jamming," it's because it is. Not in the sense where every player has to show what he knows, but in the sense that this group of players, augmented by some other stellar players, like guitarists Tim Plowman and Erik Pearson (the latter also plays saxophone and flute) and percussionists David Brandt and Dave Mihaly (who joined in the fun in various incarnations on these tracks) become something other than the sum of their individual parts. The quiet dreamy textures of "Peace" finds a Mellotron, marimba and bass slowly ushering in a textural dimension that begins to gel as Gale's trumpet enters seamlessly, and a groove presents itself skeletally, smoothly entering the next title, which nods affirmatively in Pete Townshend's direction (though the music doesn't resemble the song this title was taken from in the least) on "I Don't Need to Fight, To Prove I'm Right, I Don't Need to Be Forgiven." The experimentation begins here in earnest with Plowman's guitar filling in the backdrop and a B-3 floating around the edges of the vamp provided by Thomas and Doherty. It's all about rhythm, ultimately, no matter where melodies float, counter one another or engage in transforming themselves into something wholly other. Things threaten to erupt on "I Was Torn Down at the Dance Place -- Shaved Head at the Organ." A dark modal groove commences with Gale playing a repetitive vamp followed by a flute playing in harmonic counterpoint to the rhythm, shimmering hi hat and tom toms. Bells, shakers, and piano enter as the tune begins to emerge from the mist and wind through many phases and stages before becoming a voodoo funk incantation and the various players -- particularly Thomas and Gale -- begin to really get it, pulling at the strands until they're taut before easing back down into the ether. "Our Love" is a nocturnal funky tune, with beautiful keyboard work by Cunitz on B-3, and Pearson's sharp chord voicings becomes a wrangling solo. The album's final cut, "The Spirit," is a rangy ramble into the mystic, while it rarely breaks a sweat, it challenges even rhythmic proprieties in places, moving out of itself and then folding back in, as saxophone, trumpet and guitars interact with myriad percussion to find a way through what may be asserting itself as a melody but is impossible to break down. Which is just fine.
Ultimately, what transpires on Joint Happening feels very expansive while remaining very accessible. There may be great temptations to compare this set to Miles Davis' In a Silent Way, but that would be doing both groups of artists a disservice. Joint Happening stands on its own as a work where simplicity of intent is realized only through the difficult idea of listening carefully to others and serving the work and the band before the individual ego. In other words, in collaborating in this way, Mushroom and Gale become something much larger -- and much more unclassifiable -- than either's catalog would suggest. These pieces are all memorable in their own right, but as a whole they become a complete experience in sound that is unlike virtually anything else out there. In the 21st century, how often does that happen? This is indeed a whole new thing. AMG. listen here
Ricardo Esteban Valenzuela Reyes was raised in a Mexican-American household in the San Fernando Valley. He played several instruments as a child and eventually devoted most of his focus to the guitar, learning a right-hand version of the guitar despite his own left-handedness. Valens' musical influences were diverse, running the gamut from Little Richard and rockabilly to traditional Mexican genres like mariachi, and his talent on the guitar earned him a spot in a local band, the Silhouettes, when he was 16. Valens eventually became the band's frontman. While playing at a local movie theater in 1958, he was discovered by producer Bob Keane, who signed Valens to his Del-Fi label and convinced him to shorten his surname to "Valens," claiming the abbreviated version had broader appeal than "Valenzuela." Under Keane's wing, Valens entered a Los Angeles recording studio in July and emerged with "Come on Let's Go," which climbed to number 42 on the national charts.
By the end of 1958, Valens had quit high school in order to focus on his career, which had skyrocketed after his second single, "Donna," climbed to number two. Also enjoying a good amount of popularity was the single's innovative flip side, "La Bamba," a rocked-up Mexican folk song performed entirely in Spanish. "La Bamba" featured some fierce guitar work, as well as the thick sound of the Danelectro bass, which gave the instrument more electric presence than it had previously enjoyed on any rock & roll disc. Valens was subsequently hailed as one of rock & roll's teen idols, and he hit road in early 1959 alongside Buddy Holly, the Big Bopper, Dion & the Belmonts, and Frankie Sardo.
Billed as "the Winter Dance Party," the tour was originally scheduled to hit 24 Midwestern cities over the course of three weeks. The musicians all shared a single bus, whose heater broke several days into the tour, worsening the long drives between each show. By the time the Winter Dance Party rolled into Clear Lake, IA, on February 2, Buddy Holly had grown tired of the chilly conditions and decided to book a plane in order to fly to the show's next stop. After that evening's show at the Surf Ballroom, Holly boarded the plane along with Valens and J.P. "The Big Bopper" Richardson. The aircraft crashed several minutes after takeoff, though, installing killing pilot Roger Peterson along with all three of his passengers. Ritchie Valens was 17 years old.
Valens only had about two albums' worth of material in the can, as well as some lo-fi live tapes of a gig at a local junior high, before his death; undoubtedly, some (or many) of these were demos or unfinished tracks. Other singers emulated Valens' Mexican-American brand of rock in the following years, most notably Chan Romero (originator of "Hippy Hippy Shake," who also recorded for Bob Keane's Del-Fi label and used some of the same musicians who had backed Valens) and Chris Montez. In the 1980s and 1990s, the L.A.-based Latino rock band Los Lobos were often cited for reflecting Valens' influence, and groups like Los Lonely Boys carried the torch of Chicano rock into the 21st century. Meanwhile, the 1987 film La Bamba (whose soundtrack heavily featured Los Lobos) gave his story a glossy Hollywood makeover, exposing Valens' legacy to millions even as it introduced the usual distortions and factual errors in its dramatization of his brief life. AMG. listen here
Adler had been resident in the U.K. since 1971, following a brief stint in New York City with Elephant's Memory. His first British band was Smooth Loser, formed with Chris Gibbons and fellow expatriate Jeff Pasternak to accompany Pasternak's brother DJ Emperor Rosco at road show events. The first incarnation of Roogalator formed following Smooth Loser's breakup in 1972 -- that same year, Adler also recorded demos with 10cc's Graham Gouldman at Strawberry Studios.
Roogalator Mach I broke up and Adler relocated to Paris to study jazz theory. He returned to London in 1974, where he formed a new Roogalator with keyboard player Nick Plytas. Several lineup changes followed in the months before the band played its first live shows in September, 1975 -- the membership finally settled to include Adler, Plytas, drummer Dave Solomon, and former Chilli Willie & the Red Hot Peppers bassist Paul Riley.
Lauded by the local press, Roogalator gigged through the end of the year, their apparently miraculous rise climaxing when they were invited to support Dr. Feelgood at the Hammersmith Odeon. The prestigious show was a disaster, however, and marked the end of the classic Roogalator lineup. Within weeks, both Riley and Solomon had departed, to be replaced (again after several short-lived changes) by drummer Justin Hildreth and bassist Julian Scott, brother of band manager Robin Scott.
Roogalator made their recorded debut in April, 1976, with the Stiff Records classic "Cincinnati Fatback"; their influence on that label's own roster, meanwhile, was swiftly made apparent with the emergence of Elvis Costello -- visually a dead ringer for Adler and no slouch when it came to fractured funk himself. Despite such applause, another year elapsed before Roogalator issued a follow-up, when Virgin released Plytas' "Love and the Single Girl." The group then shifted to manager Scott's own newly formed Do It label for their debut album, Play It by Ear, in mid-1977.
Essentially little more than an opportunity to preserve the band's repertoire on vinyl before unleashing a crop of new material, the album was well-received but sold poorly. The departure of Plytas added to the group's woes; opting not to replace him, Roogalator continued gigging through early 1978 as a trio, cutting one more single, "Zero Hero," and demoing a second album. But when further lineup changes shook the group that summer, Adler realized the band had reached the end of the line. Roogalator officially disbanded in July, 1978, with many of the songs scheduled for their second album promptly being reworked for Adler's own solo debut, The Danny Adler Story. He has continued recording and gigging regularly ever since. Roogalator's own repertoire has since resurfaced on the Cincinnati Fatback compilation; the title track, meanwhile, is a regular inclusion on Stiff label anthologies. AMG. Thanks to B.! listen here
With no money or fan base to speak of, the expanded Supertramp was forced to redesign their sound. Coming up with a more pop-oriented form of progressive rock, the band had a hit with their third album, Crime of the Century. Throughout the decade, Supertramp had a number of best-selling albums, culminating in their 1979 masterpiece Breakfast in America. Breakfast in America marked their first album that tipped the scale completely in the favor of pop songs; on the strength of the hit singles "Goodbye Stranger," "Logical Song," and "Take the Long Way Home," it sold over 18 million copies worldwide. After that album, Supertramp continued to develop a more R&B-flavored style; the change in direction was successful on 1982's Famous Last Words, but the band soon ran out of hits. Hodgson left in 1983 to mount a solo career, and Supertramp continued to sporadically record and tour into the 21st century.
Indelibly Stamped, Supertramp's second album, was an improvement on their debut, although the group did have a tendency to indulge themselves in long-winded instrumental sections. AMG. listen here
Since that time, Workman has been both an educator (serving on the faculty of music schools including the University of Michigan) and a working musician, and has played with numerous legendary jazz musicians including Max Roach, Art Farmer, Mal Waldron, David Murray, Sam Rivers, and Andrew Hill (Rivers and Hill joined Workman for the 1993 session, Summit Conference). In the 1980s, Workman began leading his own group, the Reggie Workman Ensemble. He also began a collaboration with pianist Marilyn Crispell that lasted into the next decade (the two acclaimed musicians reunited for a festival performance in 2000). During the '90s, Workman was not only active with his own ensemble, but also in Trio Three, with Andrew Cyrille and Oliver Lake, and Reggie Workman's Grooveship and Extravaganza.
In recognition of Reggie Workman's international performances and recordings spanning over 40 years, he was named a Living Legend by the African-American Historical and Cultural Museum in his hometown of Philadelphia; he is also a recipient of the Eubie Blake Award. AMG. listen here
quinta-feira, 3 de maio de 2012
The young DJ with the diverse taste soon caught the ears and eyes of various socialites and New York celebrities, including fashion designer Tommy Hilfiger, who featured Ronson along with other sons and daughters of celebrities in a 1997 fashion campaign. A year later, hip-hop mogul Sean "P. Diddy" Combs hired Ronson to DJ his fabled 29th birthday bash. These and other high-profile gigs boosted Ronson's "hip quotient" and helped promote his more serious-minded music career. Fusing his eclectic turntable skills with his knowledge of musical instruments and songwriting, Ronson eventually embarked on his first solo project. Featuring such diverse guest artists as dancehall rapper Sean Paul, hip-hop artist Mos Def, Jack White of the White Stripes, and Rivers Cuomo of Weezer, Ronson's debut album, Here Comes the Fuzz, bowed for Elektra in 2003.
After releasing his debut album, Ronson kept busy producing tracks for a number of artists, including Amy Winehouse, whose 2006 album Back to Black earned critical praise in large part for Ronson's throwback, Motown-influenced production. His own sophomore effort, a collection of cover songs called Version, dropped in 2007. In 2010, Ronson began performing under the moniker Mark Ronson and the Business Intl and released his third studio album, Record Collection, featuring the single "Bang Bang Bang." AMG. listen here