The Jazz Voyager
La Zorra y el Cuervo: (English – The Vixen and the Raven) Calle 23 Esq. a O, El Vedado. Havana, Cuba / Telephone: (53 7) 66-2402. Every day, 21.00-04.00. Directions: Rampa Habanera. Three blocks from the Habana Libre Hotel down the street.
Here, you drink and dance with live jazz music. Prominent Cuban jazz bands come to this place to perform their music. The night becomes a discharge of energy. Normal dress requirements for a tropical night.
Daily Dose Of Jazz…
Matthew Garrison was born June 2, 1970 in New York. The son of double bassist Jimmy Garrison, he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father (John Coltrane’s bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar.
In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years, studying intensively under him and bassist Dave Holland. In 1989 he received a full scholarship to attend Berklee College of Music in Boston. Along with his studies, he began his professional career with the likes of Gary Burton, Bob Moses, Betty Carter, Mike Gibbs and Lyle Mays to mention a few.
Garrison moved to Brooklyn, New York in 1994 and since then has performed, toured and recorded with artists such as Herbie Hancock, Whitney Houston, Joe Zawinul, Chaka Khan, Meshell Ndege Ocello, Joni Mitchell, Wayne Shorter, Jack Dejohnette, Steve Coleman, Bill Cosby, Paul Simon, Cassandra Wilson, Wallace Roney, Geri Allen, John Mclaughlin, Tito Puente, John Scofield, Pat Metheny and many others.
In 1998 Matthew founded record label and production company, GarrisonJazz Productions, through which he currently produces, promotes and markets his music. Since 2000 he has released two compact discs and a live performance DVD. He is noted for playing his signature series Fodera bass, having created and developed a pizzicato technique that uses four fingers. He continues to perform and record.
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From Broadway To 52nd Street
Two For The Show opened on Broadway at the Booth Theatre on February 8, 1940 and after 124 performances the curtain came down for its final descent on May 25, 1940. Directed by John Murray Anderson with the sketches directed by Joshua Logan and musical staging by Robert Alton, the original cast included later Hollywood notables as Eve Arden, Alfred Drake, Betty Hutton and Keenan Wynn.
The Story: This was a revue with several sketches being performed such as “The Age Of Innocence” and “Cookery” written by Richard Hadyn. There were two other revues in this series, all conceived and directed by John Murray Anderson: One for the Money (February 4, 1939-May 27, 1939), and Three to Make Ready (March 7, 1946-December 14, 1946). The most notable song introduced in the show was “How High The Moon” which subsequently has been recorded by many jazz artists, becoming a well-known standard
Jazz History: Bebop or bop is a style of jazz characterized by fast tempo, instrumental virtuosity and improvisation based on the combination of harmonious structure and melody. It was developed in the early to mid-1940s and first surfaced in musicians’ argot sometime in the first two years of American involvement in WWII.
The origins of the term “bebop” has been debated by numerous authorities and researchers usually stated to derive from nonsense syllables or vocables used in scat singing, and is supposed to have been first attested in 1928. However, some researchers speculate that it was a term used by Charlie Christian because it sounded like something he hummed along with his playing.Yet, Dizzy Gillespie’s version of the story relates that the audiences coined the name after hearing him scat the then-nameless tunes to his players and the press ultimately picked it up, using it as an official term: “People, when they’d wanna ask for those numbers and didn’t know the name, would ask for bebop.”
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Daily Dose Of Jazz…
Lennie Niehaus was born June 1, 1929 in St. Louis, Missouri. A musical family heralded a concert pianist sister and a father who was an excellent violinist who started his son on the violin at seven, then switched to the bassoon. At 13 he began learning the alto saxophone and clarinet.
Always interested in composing and writing music Lennie studied music in college and in 1946 began playing professionally with Herb Geller, Herbie Steward and Teddy Edwards in 1946. Six months later he joined Stan Kenton, then drafted in 1952 but two years late rejoined Kenton after his discharge.
Leaving Kenton in 1959, Niehaus began composing, moved back to Los Angeles and arranged for the King Sisters, Mel Torme, Dean Martin, and Carol Burnett. Three years later saw him orchestrating for film composer Jerry Fields, a relationship that yielded more than sixty TV shows and films.
He orchestrates his own pieces and never forgets his jazz roots in film, writing jazz and using jazz musicians like Marshall Royal, Bill Perkins, Pete Jolly, Mike Land, and Clint Eastwood. He was the musical director for the Charlie Parker bio-feature, Bird.
After many years of not playing his alto saxophone at all, Niehaus returned to performing, reportedly in top form. He continues to arrange, compose and play alto on the West Coast jazz scene.