The Jazz Voyager
Leaving Miami for the cold climes of our nation’s capital and heading to my old stomping grounds that have been gentrified and transformed into a multicultural hangout. The laction is U Street, the venue is JoJo Restaurant & Bar. This is where the Jazz Voyager will be spending an evening dining on calamari and grilled vegetables while taking in some great jazz.
On tap for this week’s adventure in jazz is the Tedd Baker Trio who is bringing his trio to the stage. The Boston native has been playing professionally since he was a teenager around the city before venturing out. He has worked with a host of musicians such as Barry Harris, David Sanborn, Arturo Sandoval, Slide Hampton, Eddie Daniels, George Duke, Victor Lewis, Orrin Evans, Jason Moran, Wycliffe Gordon, and Kurt Elling.
JoJo Restaurant & Bar is located at 1518 U Street NW, Washington, DC 20009. For more information visit https://www.jojodc.com.
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Daily Dose Of Jazz…
Nicholas Stabulas was born on December 18, 1929 in New York City, New York. After working in commercial music, Stabulas was a member of Phil Woods group from 1954 to 1957.
Through the Fifties he did extensive work as a sideman in the 1950s, with Jon Eardley, Jimmy Raney, Eddie Costa, Friedrich Gulda, George Wallington, Al Cohn, Zoot Sims, Gil Evans, Mose Allison, Carmen McRae, and Don Elliott.
In the 1960s he worked with Chet Baker, Kenny Drew, Bill Evans, Lee Konitz and Lennie Tristano. He remained active into the Seventies.
Drummer Nicholas Stabulas, who recorded fourteen albums as a sideman, died in a car crash on February 6, 1973 in Great Neck, New York.
More Posts: drums,history,instrumental,jazz,music
Daily Dose Of Jazz…
Ze Luis was born José Luis Segneri Oliveira was born December 17, 1957 in Rio de Janeiro, Brazil and as a child lived next to Antonio Carlos Jobim in the historic Ipanema neighborhood. Early on Oliveira began playing flute and he graduated from Pro-Art Conservatoire in flute and traditional harmony in 1975. Two years later he continued his studies in Performance Arts at Villa-Lobos Institute and soon after studied with renowned Brazilian saxophonist and clarinet player Paulo Moura.
The mid-70s saw him becoming heavily influenced by the album Native Dancer, a collaboration between Wayne Shorter and Milton Nascimento. He was also drawn to the music of Ian Anderson, leader and flutist of the British band Jethro Tull.
Zé’s first professional engagement began with Brazilian vocalists Ney Matogrosso and Luiz Melodia. Oliveira met pianist Tomás Improta while working with Brazilian actress and singer Zezé Motta, who at that time was working with emerging Caetano Veloso and recorded on his album and eventually joined Veloso’s newly formed band.
During this time Oliveira worked extensively with Gilberto Gil, The Wailers, Chico & Caetano on Globo TV and played with Chico Buarque, Rita Lee, Milton Nascimento, João Bosco, Elza Soares, and Mercedes Sosa.
He moved to New York City in 1990 and began studying with saxophonists Joe Lovano and Ted Nash at New York University. In 2004, Oliveira received his Masters in Composition and Arranging from the Juilliard School. His career includes multiple Grammy Award nominations.
Throughout the 1990s, Oliveira continued to record and perform with hundreds of artists from different genres, composed and performed for choreographer and dancer Patricia Hoffbauer and became a part of the New York Samba Band with Duduka da Fonseca, Romero Lubambo, Cyro Baptista and Nilson Matta.
Saxophonist and flutist Zé Luis Oliveira is the current producer of Just Play, a traveling improvisational music series and global storytelling project.
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On The Bookshelf
Hard Bop: Jazz & Black Music 1955-1965
It’s nineteen fifty-something, in a dark, cramped, smoke-filled room. Everyone’s wearing black. And on-stage a tenor is blowing his heart out, a searching, jagged saxophone journey played out against a moody, walking bass and the swish of a drummer’s brushes. To a great many listeners–from Black aficionados of the period to a whole new group of fans today–this is the very embodiment of jazz. It is also quintessential hard bop.
In this, the first thorough study of the subject, jazz expert and enthusiast David H. Rosenthal vividly examines the roots, traditions, explorations and permutations, personalities and recordings of a climactic period in jazz history.
Beginning with hard bop’s origins as an amalgam of bebop and R&B, Rosenthal narrates the growth of a movement that embraced the heavy beat and bluesy phrasing of such popular artists as Horace Silver and Cannonball Adderley; the stark, astringent, tormented music of saxophonists Jackie McLean and Tina Brooks; the gentler, more lyrical contributions of trumpeter Art Farmer, pianists Hank Jones and Tommy Flanagan, composers Benny Golson and Gigi Gryce; and such consciously experimental and truly one-of-a-kind players and composers as Andrew Hill, Sonny Rollins, John Coltrane, Thelonious Monk, and Charles Mingus.
Hard bop welcomed all influences–whether Gospel, the blues, Latin rhythms, or Debussy and Ravel–into its astonishingly creative, hard-swinging orbit. Although its emphasis on expression and downright “badness” over technical virtuosity was unappreciated by critics, hard bop was the music of black neighborhoods and the last jazz movement to attract the most talented young black musicians.
Fortunately, records were there to catch it all. The years between 1955 and 1965 are unrivaled in jazz history for the number of milestones on vinyl. Miles Davis’s Kind of Blue, Charles Mingus’s Mingus Ah Um, Thelonious Monk’s Brilliant Corners, Horace Silver’s Further Explorations. Rosenthal gives a perceptive cut-by-cut analysis of these and other jazz masterpieces, supplying an essential discography as well. For knowledgeable jazz-lovers and novices alike, Hard Bop is a lively, multi-dimensional, much-needed examination of the artists, the milieus, and above all the sounds of one of America’s great musical epochs.
Hard Bop | Jazz & Black Music 1955~1965: 1992 | David H. Rosenthal
Oxford University Press
Daily Dose Of Jazz…
Graham Leslie Lionel Clark was born on December 16, 1959 in England. He plays the violin as his first instrument, sings and also the electric guitar. As a freelance violinist he is adept in most styles of jazz, rock, blues and pop, however, he specializes in improvisation.
He worked with Daevid Allen from 1988 to 2014, and has also worked with Andy Sheppard, Keith Tippett, Tim Richards, Phil Lee, Paz, Brian Godding, Elbow, Lamb, Bryan Glancy, Little Sparrow, Jah Wobble, Graham Massey, Louis Gordon and Liz Fletcher.
Violinist Graham Clark, who has been featured on seven albums, continues to perform and record.
More Posts: guitar,history,instrumental,jazz,music,violin,vocal