The Jazz Voyager
Nestled in a quiet corner of Alpharetta, just 15 minutes north of the perimeter off 400 resides this cozy little nightspot called The Velvet Note that brings welcoming audiences an unplugged jazz experience.The Jazz Voyager steers his rental to the Georgia location at 4075 Old Milton Parkway, 30005. Intimate in its approach, one is swathed in the tapestry of music emanating from the stage, regardless of where one rests comfortably in this forty-seat room.
Within this construct, owner Tamara Fuller has carefully crafted a wonderful ambiance with light, sound, libation and culinary delights that will excite your senses while assuaging any fear that your encounter will be anything less than your desire.
As one who enjoys seeking life beyond the curve, this Jazz Voyager was enthralled as was the entire audience to a powerful and moving set performed by vocalist of Alvin Stone. The music was impeccable and in good company with sumptuous lump crab cakes, a glass of red brought by a delightful and attentive staff.
I highly recommend making a reservation for this acoustic respite at 855.583.5838, look for the menu at thevelvetnote.com and is not fr the fainthearted pocket as this nightspot is rated $$$. But for those who want the unexpected pleasure of experiencing jazz up close and personal in this 40 seat room, take a moment to refresh your mind, body and spirit. in this acoustic living room.
Daily Dose Of Jazz…
Juini Booth was born Arthur Edward Booth on February 12, 1948 in Buffalo, New York. He began playing piano at about age eight, and switched to bass at 12. He worked with Chuck Mangione in his hometown before moving to New York City around 1966, where he played with Eddie Harris, Art Blakey, Sonny Simmons, Marzette Watts, Freddie Hubbard and Shelley Manne out in Hollywood through the end of the decade.
In the 70s Juini performed with Erroll Garner, Gary Bartz, Charles Brown, Tony Williams and McCoy Tyner and recorded with Larry Young, and with Takehiro Honda and Masabumi Kikuchi during a 1974 tour of Tokyo. He would spend a short period with Hamiett Bluiett, then resettle in Buffalo but worked with Chico Hamilton in Los Angeles and Junior Cook in New York. By the late 70s he played with Elvin Jones and Charles Tolliver.
From 1980 on, he played with Ernie Krivda in Cleveland, as well as locally in Buffalo. He recorded freelance with Beaver Harris, Steve Grossman, Joe Chambers, and Sun Ra among others and currently lives and works in New York City.
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Daily Dose Of Jazz…
Sérgio Santos Mendes was born in Niteroi, Rio de Janiero, Brazil on February 11, 1941. S a child he attended the local conservancy with hopes of becoming a classical pianist. As his interest in jazz grew, he started playing in nightclubs in the late-1950s just as the jazz-inflected derivative of samba known as bossa nova emerged.
Mendes formed the Sexteto Bossa Rio, recorded Dance Moderna in 1961, toured Europe and the U.S., recorded with Cannonball Adderley and Herbie Mann, played Carnegie Hall and then moved to the States in 1964, cutting two albums for Capitol and Atlantic Records.
Sergio would join the Musicians Union, Create Brasil 65, change the name later to Sergio Mendes and Brasil 66, opt not to record Tito Puente’s “Oye Como Va” which would become a hit for Carlos Santana, release “Mas Que Nada” that would take them platinum. He would record “Look Around” and their fourth album “Fool On A Hill”.
His breakout success was with the performance of Burt Bacharach’s “The Look of Love” at the 1968 Academy Awards telecast, ultimately becoming the biggest Brazilian star in the world at the time. He would go on to record for Elektra, Bell, A&M and Concord record labels, collaborate with Stevie Wonder, reunite with Lani Hall on the Bond “Never Say Never Again” soundtrack, record with will.i.am and The Black Eyed Peas, Jill Scott, India Arie and others on his Timeless project, win several Grammys over the course of his fifty-five releases and be twice nominated for an Academy Award for the Look of Love and his contributions to the 2011 film “Rio”.
Daily Dose Of Jazz…
Roberta Flack was born February 10, 1937 in Black Mountain, North Carolina but raised in Arlington, Virginia, first discovering the work of Black music when she heard Mahalia Jackson and Sam Cooke sing in church. During her early teens excelling at classical piano Howard University gave her a full scholarship and she entered at 15. She changed her major from piano to voice and became an assistant conductor of the university choir.
Graduating from Howard at 19, she began graduate studies in music, but with the sudden death of her father she took a teaching job, which lasted for years in the Washington, DC school system and private lessons from her home. Soon she was performing around town accompanying herself on piano but her star didn’t begin to shine until her voice teacher suggested she turn to pop music. With a performance space built in a Capitol Hill club called Mr. Henry’s it only took the ears of Les McCann to arrange an audition with Atlantic Records. After only 10 hours in the studio, Roberta’s debut album “First Take” was recorded and released.
Flack’s Atlantic recordings did not sell particularly well, until Clint Eastwood chose a song from First Take, “The First Time Ever I Saw Your Face” for the sound track of Play Misty For Me and it became the biggest hit of 1972. Spending six consecutive weeks at #1 the song earned her first gold record and Record Of The Year Grammy in 1973.
Roberta would go on to record with Donny Hathaway, Peabo Bryson and Maxi Priest; write for Television and film, going on to gather more Grammys and hit songs and albums over the course of her career and earned a star on the Hollywood Walk of Fame.
Requisites
The Incredible Jazz Guitar Of Wes Montgomery is a dazzling display of the unorthodox technique and emotional power that combined to make Wes a literally “incredible” artist. Ever since its initial release in 1960, this album has been a consensus choice of musicians, critics and knowledgeable listeners as a matchless example of the talents of one of the finest jazz instrumentalists of all times.
Personnel: Wes Montgomery – guitar, Tommy Flanagan – piano, Percy Heath – bass, Albert “Tootie” Heath – drums
Producer: Orrin Keepnews
Record Date: New York City – January 26 & 28, 1960
Cover Art: Produced and designed by Paul Bacon, Ken Braren and Harris Lewine
Songs: Airegin, D-Natural Blues, Polka Dots & Moonbeams, Four On Six, West Coast Blues, In Your Own Sweet Way, Mr. Walker (Renie), Gone With The Wind
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