Steve Wiest was born John Stephen Wiest on January 26, 1957 in Cleveland, Ohio. Taking up the trombone in his youth he attended Blair High School and played in the band. He went on to matriculate through University of Southern Mississippi and then through University of North Texas.
From 1981 to 1985, Steve was a featured trombonist and arranger with the Maynard Ferguson Band, he has been a professor for twenty-six of the thirty-four years that he has been a professional trombonist, composer, and arranger. From 2006 to 2014, he was Associate Professor of Music in Jazz Studies at the University of North Texas College of Music and during that time he was also the director of the One O’Clock Lab Band.
A three-time Grammy nominee individually, for composing and collaboratively for ensemble, Steve Wiest has in excess of two dozen albums to his name and 58 arrangements and compositions to his credit, which include 10 original compositions from his current project, The Dover Stone: Concerto for Folded Space.
His resume of performances or recordings reads like a who’s who list with Weather Report, Sarah ‘Vaughan, Bill Cosby, Buddy Rich, Freddie Hubbard, McCoy tner, Al Foster, Eddie Gomez, Slide Hampton, Dizzy Gillespie, Chick Corea and the Gil Evans Orchestra on it, just to name a few.
Trombonist and educator Steve Wiest is currently in his first year as Associate Professor of Jazz Studies and Commercial Music at the University of Denver Lamont School of Music, and is the Coordinator of the 21st Century Music Initiative at the school. He continues to perform, compose and arrange jazz and big band.
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D.D. Jackson was born on January 25, 1967 in Ottawa, Canada. He started playing piano as a child, eventually graduating from the Manhattan School of Music. He would go on to become an alumnus of the Lehman Engel BMI Advanced Musical Theatre Workshop.
Jackson performs all over the world with his groups and has also appeared and recorded with some of the most distinguished names in jazz and beyond including: David Murray, Art Davis, Ray Drummond, James Spaulding, James Carter, Dewey Redman, Oliver Lake, Billy Bang, Regina Carter, Dafnis Preto, Cindy Blackman, Billy Hart, Andrew Cyrille, Mor Thiam, Mino Cinelu, Ahmir “Questlove” Thompson and others.
He is also an accomplished classical pianist, released a recording of Gershwin’s “Rhapsody in Blue”, he wrote a regular column “Living Jazz” for Downbeat magazine and the related “D.D. Jackson Living Jazz Podcast”.
Jackson is an alumnus of the Manhattan Producers Alliance, was a composers for The Wonder Pets and 3rd & Bird; scored the entire 26-episode season of The Ocean Room, won a Juno Award, is currently based in New York City teaching at Hunter College and the Harlem School of the Arts and has recorded twelve CDs as a leader and co-leader.
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Pal Joey makes its second appearance as a 1957 drama musical film starring Rita Hayworth, Frank Sinatra and Kim Novak. The Lady Is A Tramp and My Funny Valentine (Babes In Arms/1937), There’s A Small Hotel (On Your Toes/1936), I Didn’t Know What Time It Was (Too Many Girls/1939) were introduced in their respective Broadway plays and all make their debut in the film, while I Could Write A Book and Bewitched Bothered and Bewildered make sophomore appearances. All of the above compositions composed by Richard Rodgers and Lorenz Hart became jazz standards.
The Story: The setting is San Francisco; Joey Evans (Sinatra) is a second-rate singer, a heel known for his womanizing ways, calling women “mice”, but still charming and funny. When Joey meets Linda English (Novak), a naive chorus girl, he has stirrings of real feelings. However, that does not stop him from romancing a former flame and ex-stripper, now society matron Vera Prentice-Simpson (Hayworth), a wealthy, willful, and lonely widow, in order to convince her to finance his dream, “Chez Joey”, a night club of his own.
Soon Joey is involved with Vera, each using the other for his/her own somewhat selfish purposes. But Joey’s feelings for Linda are growing. Ultimately, Vera jealously demands that Joey fire Linda. When Joey refuses, Vera closes down “Chez Joey”. Linda visits Vera and agrees to quit in an attempt to keep the club open. Vera then agrees to open the club, and even offers to marry Joey, but Joey rejects Vera. As Joey is leaving for Sacramento, Linda runs after him, offering to go wherever he is headed. After half-hearted refusals, Joey gives in and they walk away together, united.
Mitchel Forman was born January 24, 1956 in Brooklyn, New York and began studying classical piano at the age of seven. At 17 he entered the Manhattan School of Music for three years of study and began working with bands in New York. Shortly after graduation he began touring and recording with Gerry Mulligan’s big band and quartet, followed by a stint with Stan Getz.
In 1980 Mitchel began a solo career with a piano performance at the Newport Jazz Festival and the subsequent recording became his first album, Live at Newport. He went on to work with Phil Woods, Carla Bley, Mel Torme and Astrud Gilberto; record for Soul Note Records and tour Europe regularly.
He joined guitarist John McLaughlin for a year and a half, recorded Mahavishnu and Adventures in Radioland. Then he joined Wayne Shorter and in between touring, contributed to and recorded Phantom Navigator.
In 1985, Forman began leading his own band and recorded his group debut for Magenta Records “Train of Thought”. At the same time he continued to work with other well-known jazz and music figures, including John Scofield, Mike Stern, Janis Siegel, Dave Samuels, Diane Schuur, Gary Burton, Pat Metheny, “Freddie Hubbard and numerous others.
Pianist Mitchel Forman continues to record and play under his own name and has recently started his own record label, Marsis Jazz. His move to California has him co-leading the band Metro with guitarist Chuck Loeb and performing around Los Angeles with his own bands.
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Jean Reinhardt better known as “Django” was born on January 23, 1910 in Liberchies, Pont-a-Celles, Belgium into a French family of Manouche Romani descent. His family made cane furniture for a living but it was comprised of several good amateur musicians. He spent most of his youth in Romani encampments close to Paris, where he started playing violin, banjo and guitar.
Reinhardt was attracted to music at an early age, first playing the violin. At age 12, he received a banjo-guitar as a gift and quickly learned to play by mimicking the fingerings of musicians he watched. By age 13, Reinhardt was able to make a living playing music. He received little formal education and acquired the rudiments of literacy only in adult life. His first known recordings, made in 1928, were of him playing the banjo.
At age 18 in 1928 Reinhardt was injured in a fire started by a knocked over candle. Over half his body suffered burns, two fingers and one leg were paralyzed and it was thought he would never walk or play again. But with therapy and practice he re-learned to play differently and walked with a cane.
The years between 1929 and 1933 were formative musically for Django when he became attracted to jazz listening to Louis Armstrong. Shortly thereafter he met Stephane Grappelli who had similar interests. The two became musical partners. In 1934, with an invitation by Hot Club de France secretary Pierre Nourry, he and Grappelli formed the Quintette du Hot Club de France. Over the years it hosted different players and adding a singer but for the most part allowed only stringed instruments.
In 1933, Reinhardt recorded two takes each of vocal numbers “Parce-que je vous aime” and “Si, j’aime Suzy”, continued to record into 1934, and in 1935 he and Stephane recorded sides for Decca Records. He played and recorded with Adelaide Hall, Coleman Hawkins, Benny Carter, Rex Stewart, Louis Armstrong, Dizzy Gillespie, and Duke Ellington.
By 1946, he was debuting at the Cleveland Music Hall as a special guest soloist with Duke Ellington and His Orchestra. As part of the U.S. tour Django also played two nights at Carnegie Hall, then secured an engagement at Café Society Uptown, where he played four solos a day, backed by the resident band drawing large audiences.
Returning to France in ’47, Reinhardt became re-immersed in Gypsy life, finding it difficult to adjust to the postwar world. Missing sold-out concerts, showing up without guitar or amplifier and wandering off were commonplace. However, during this period he continued to attend the R-26 artistic salon in Montmartre, improvising with his devoted collaborator, Stéphane Grappelli.
From 1951 until his death at age 43 on May 16, 1953 of a brain hemorrhage, Reinhardt retired to Samois-sur-Seine near Fontainbleau. He had continued to play in Paris jazz clubs and began playing electric guitar. (He often used a Selmer fitted with an electric pickup, despite his initial hesitation about the instrument.) His final recordings made with his “Nouvelle Quintette” in the last few months of his life show him moving in a new musical direction; he had assimilated the vocabulary of bebop and fused it with his own melodic style.
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