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scotianostra · 1 year

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Happy 64th Birthday Brian Alexander "B. A." Robertson, born September 12th 1956.

Robertson was born and raised in Glasgow attending the former Allan Glen's School, Glasgow,[and the Royal Scottish Academy of Music & Drama. He recorded his first album "Wringing Applause", for Ardent Records in 1973. It enjoyed modest critical acclaim, and a nomination in Down Beat Magazine's year end poll. He made four further albums, but had little commercial success.

During these years, he combined his career as an artist in a writing and production partnership with bassist Herbie Flowers. BA wrote and produced with Herbie, and worked with an eclectic crowd, including Lionel Bart, Joe Brown, Jim Cregan, Ray Cooper, Micky Dolenz, Gillian Gregory, Georg Kajanus, Harry Nilsson, Phil Pickett, Annie Ross, Sandie Shaw, and Chris Spedding.

He made his first television appearance with Steve Harley & Cockney Rebel (1976), played piano on the B side of "Come Up And See Me Make Me Smile".

Before finding fame in his own right B A teamed up with guitarist Terry Britten and wrote over 20 worldwide hits, the pick of them for Cliff Richard, the songs Carrie and Wired for Sound, the latter was nominated Ivor Novello Song of the Year in 1981.

It was around the same time his singing career took off. He enjoyed chart success in Europe, with six hit singles as an artist. The first, "Bang Bang", achieved sales over 1 million, the last Flight 19, in 1982, a #1 in Iceland! This track inspired a ground breaking music video directed by Brian Grant. BA was nominated Ivor Novello Songwriter of the Year 1980, UK Male Vocalist, Daily Mirror Rock & Pop Awards 1980, JVC Scottish Musician of the Year 1982. He recorded with Maggie Bell in 1982, Frida from Abba, 83, and Lulu in 84.

As well as appearing in concert, he also featured on radio and television. Was a frequent guest broadcaster for the BBC, from 1980 to 1985. Hosted his own music series "BA In Music". In 1986 he was commissioned to compose the music for The Commonwealth Games in Edinburgh. He has written more than 30 themes, songs, and scores, for film, television and special events. These include "The Other Side of The World" by Chaka Khan for the motion picture "White Nights", music for one of the UK's longest running talk shows "Wogan", and "We Have A Dream" for Scotland's World Cup Football Squad of 1982.

Throughout the 80's and 90's he continued to write and work in the studio with another diverse group, including Sam Brown, Roger Daltrey, Lonnie Donegan, Dave Edmunds, Bernard Edwards, Peter Frampton, Alan Gorrie, John Jarvis, Maz + Kilgore, Joe Sample, Helena Springs, and Andy Taylor (Duran Duran).

He met Genesis guitarist Mike Rutherford in 1985, and began a second long term writing collaboration. He introduced Paul Carrack to the embryo Mike & The Mechanics. As writer and musician, he featured on six of their studio albums. Wrote their first hit single "Silent Running", Billboard's number 1 Rock Song of 1986, and the international success, "The Living Years". This most celebrated of his lyrics written when his father died twelve weeks before the birth of his son.

At the 1990 Grammy Awards, "The Living Years" had four nominations, including Song of the Year. BA was pipped for the statuettes by good friend Arif Mardin and "The Wind Beneath My Wings". In London, at The Ivor Novellos, 'The Living Years' topped 1991 Grammy winner "Another Day in Paradise" for Best Song.

He was invited to set up offices at The Walt Disney Studio, by Michael Eisner, and Jeffrey Katzenburg. BA moved with his family to Los Angeles. He remained a feature on the lot for over three years. Was Creator, and Producer of Grammy nominated, multi-platinum, music video, "Simply Mad About The Mouse". Artists include Harry Connick Jnr., LL Cool J., Billy Joel, and Bobby McFerrin.

1991 saw "Silent Running" and "The Living Years", awarded "MillionAir" status by BMI, for more than one million broadcast performances in the US. "Silent Running" has now reached almost three million plays, and 'The Living Years' over four.

From 1993 through 1995, he put together, "With Your Hand on My Heart" for Patti LaBelle and Michael Crawford. Michael's album had a double Grammy nomination and world wide sales of more than 2 million. Wrote music for "Baywatch", the world's most popular television show and collaborated on a musical with Burt Bacharach.

He continued to work with Mike & The Mechanics, had six songs in the "Beggar On A Beach of Gold" project including the title song, and another six on their, multi-platinum CD, "Hits". He worked as writer, and musical associate to Phil Ramone on the stage production "EFX¬î, at the MGM Grand Las Vegas. The opening song "Somewhere in Time¬î, a collaboration with John Barry.

For the past 20 years or so Robertson has lived in Ireland, continually working on various projects he is still in high demand, Over the years, B A has accumulated more than 70 silver, gold, and platinum record awards. He lives with his wife, designer Karen Manners, they have two adult children.

I've chosen this song because it is my favourite Scottish World goal offering, remember, if you are old enough, four years previously, Andy Cameron proclaimed, We're Going to WIN the world Cup, by the time 1982 came B A Robertson knew that it was a dream. Oh I must add, the last World Cup Scotland was in 1998, and the much more realistic song was by Del Amitri, and calle Don't come home too soon, which as always we did, failing to get beyond the first stages yet again

#scotland #scottish #singer songwriter #songwriter #musician #happy birthday #Youtube

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dustedmagazine · 1 year

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Kyle Bruckmann / Tim Daisy / Philip Greenlief / Lisa Mezzacappa — Semaphore (Relay Recordings)

Tim Daisy photo by Ken Vandermark/ Kyle Bruckmann photo by Peter Gannushkin

SEMAPHORE :: Kyle Bruckmann / Tim Daisy /Phillip Greenlief / Lisa Mezzacappa (relay 033) by Timothy Daisy // Relay Recordings

Semaphore is the latest manifestation of the enduring musical connection between Kyle Bruckmann and Tim Daisy. They live a half-continent apart in San Francisco and the Chicago area, and they might not get together for years. But when they do, they not only pick up where they left off, but keep the conversation growing.

The two men’s association originated when Bruckmann, who plays oboe and English horn, started the band Wrack in 2002. This was right around the time that he left Chicago, where he had been the city’s first-call double reeds improviser for half a dozen years, for San Francisco, where he still resides. That might seem like a weird time to start a band, but Bruckmann wasn’t leaving because of problems with Chicago’s music scene. Quite the contrary, he had some unfinished business, including a determination to write and perform music that combined classical forms with new jazz, and he knew a circle of Chicago-based musicians whose skills and aptitudes made them perfect for the project. One of them was Daisy, who at the time was best known as the drummer in a variety of projects led by Ken Vandermark and Dave Rempis, but who was also striking out on his own as a leader. He brought propulsion, swing, formidable improvisational chops, and a cornucopia of ornamental sounds to the combo’s distinctive chamber music-meets-muscular jazz sound.

Wrack finished strong in 2014 with the record …Awaits Silent Tristero’s Empire, but Bruckmann and Daisy kept renewing their connection every few years. Semaphore flips the Wrack script by having Daisy head out to Bruckmann’s turf to play with some Bay Area improvisers, bassist Lisa Mezzacappa and tenor saxophonist Philip Greenlief, and adds chapters to it by having the two men split the writing. Both leaders like to fit a lot of action into a composition. Bruckmann’s “No Mean Feat,” which opens the album, features Daisy sizzling on cymbals while Mezzacappa manages the momentum by alternating ascending phrases with sudden rests. The composer and Greenlief strike a balance of muscularity and astringence that brings to mind Prince Lasha and Sonny Simmons without sounding much like them. After building tension, the group expends it with a surging groove and sequential horn solos. Then comes another rest, followed by an intricate pas de deux between oboe and bass, and then the piece resolves with a sauntering ensemble passage reminiscent of the Vandermark 5 c. Acoustic Machine.

Next up is Daisy’s “Big Horse Lounge,” which opens with a splendidly grouchy-sounding synth line played by Bruckmann, and then eases into a sequence of time-free, muted exchanges by continuously shifting subgroups of the quartet. That dissolves into a charge led by Greenlief’s rippling, high-register attack and fueled by the combustible Mezzacappa-Daisy team. Players drop in and out, and velocity subsides, before the whole ensemble reconstitutes for a voltage-illuminated finale that imagines Brown Rice-era Don Cherry dabbling in gamelan sounds.

Each of the five pieces that follows explores, with varying degrees of expansiveness and pith, a variety of musical territories. This music is packed with event and transformation, as though its makers knew that they had to get a lot said before parting ways again. But the music never feels gratuitously crammed; in fact, its fluid transitions between sections is part if its appeal. With Semaphore, Daisy and Bruckmann have forged a distinct new group identity by exploring new instrumental and personnel combinations while reaffirming the interest in intricate composition that they have shared since the first Wrack CD.

Bill Meyer

#Kyle Bruckmanm #tim daisy #philip greenlief #lisa mezzacappa #semaphore #relay recordings #bill meyer #albumreview #dusted magazine #jazz #chicago #san francisco #wrack

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krispyweiss · 2 years

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Savoy Brown’s Kim Simmonds Dies at 75

- “One of Kim’s last requests was to thank the fans of Savoy Brown,” management says

Kim Simmonds, the founder, guitarist and only permanent member of Savoy Brown, died Dec. 13.

His management announced Simmonds’ death Dec. 15 without giving a cause; the 75-year-old guitarist had recently been diagnosed with stage 4 colon cancer.

“May he rest in peace,” the statement read. “One of Kim’s last requests was to thank the fans of Savoy Brown. Your support was, and shall always be, immensely appreciated.”

Savoy Brown released its first single in 1965 and went on to release 41 albums, most recently 2020’s Ain’t Done Yet.

Former Savoy drummer Keith Boyce remembered Simmonds as “a great player” with whom he had reunited on stage just before the COVID-19 pandemic hit.

“I had many a laugh on the road with him back in the ’80s touring the States,” Boyce said.

The guitarist was “certainly one of the best,” said the Sweetwater Band, who frequently opened for Savoy Brown.

“He was always so humble and genuinely interested in what we were up to,” the group said.

“Rest easy, Kim, and thanks for so many great years of stellar guitar playing and songwriting.”

Much like John Mayall’s Bluesbreakers, Savoy Brown was something of a blues-rock farm team. Its former members include singer Dave Walker of Fleetwood Mac and Black Sabbath; Yes and King Crimson drummer Bill Bruford; UFO’s Paul Raymond; former Vanilla Fudge bassist Tim Bogert; and the founding members of Foghat.

“We will miss you, Kim,” Foghat wrote on Facebook. “Rest now.”

12/15/22

#kim simmonds #savoy brown #keith boyce #the sweetwater band #foghat #dave walker #fleetwood mac #black sabbath #bill bruford #yes #king crimson #ufo #paul raymond #tim bogert #vanilla fudge #john mayall and the bluesbreakers

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innervoiceart · 5 days

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ON THIS DATE (54 YEARS AGO)

September 23, 1970 - Santana: Abraxas is released.

# ALL THINGS MUSIC PLUS+ 5/5 (MUST HAVE)

# Allmusic 5/5

# Rolling Stone (see original review below)

Abraxas is the second studio album by Santana, released on September 23, 1970. It reached #1 on the Billboard 200 Top LP's chart and #3 on the R&B Albums chart. The single "Oye Como Va" reached #13 on the Billboard Hot 100 and #32 on the R&B singles charts. In 2003, the album was ranked number 205 on Rolling Stone magazine's list of the 500 greatest albums of all time. Abraxas was deemed "culturally, historically, or artistically significant" by the Library of Congress and was selected for preservation in their National Recording Registry in 2016.

Consolidating their live success at the Woodstock Festival in 1969, and the interest generated by their first album the band took some time to issue a follow-up. Abraxas mix of rock, blues, jazz, salsa and other influences made it a classic that defined Santana's early sound, and showed a musical maturation from their first album.

Abraxas features a mixture of Latin influences with familiar rock themes such as overdriven electric guitar, organ and heavy drums. The album also demonstrates Santana's stylistic versatility, including tracks such as "Samba Pa Ti" (a classic slow-burning piece) and "Incident at Neshabur", both being instrumentals. The latter has several rhythm and time signature changes consistent with its jazz feel. Latin percussion — congas, bongos and timbales, as well as a conventional rock drum setup, make this Santana's first foray into true Latin rhythm.

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COVER

The album cover features the 1961 painting Annunciation by German-French painter Mati Klarwein. According to the artist, it was one of the first paintings he did after relocating to New York City. Carlos Santana reportedly noticed it in a magazine and asked that it be on the cover of the band's upcoming album. The cover is now considered a classic of rock album covers.

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RECORD WORLD, October 3, 1970 – PICK HITS

ABRAXAS SANTANA—Columbia KC 30130. Santana's second album will break them up all over the place. These first truly successful exponents of Latinrock (plus extra secret ingredient) interpret the work of Tito Puente, Gabor Szabo and themselves on this sizzling, cooking handsome package.

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ORIGINAL ROLLING STONE REVIEW

Carlos Santana is one of the three new guitarists who border on B. B. King's cleanliness. His only two contemporaries are Eric Clapton and Michael Bloomfield, but Santana is playing Latin music and there are no other Latin bands using lead guitars. The paradoxical thing about Santana has been their acceptance by a teenybop audience that digs Grand Funk and Ten Years After when they should be enjoyed by people who are into Chicago and John Mayall.

The heart of Santana is organist Gregg Rolie and bassist Dave Brown, who hold the rhythm together over which the percussion unit can jam and bounce. Timbales, congas (Puerto Rican) and drums take off on Brown's rhythm and then Santana himself comes in to make his statements on lead guitar.

Carlos Santana is a Chicano and he loves the guitar, which has always been used heavily in Mexican music. He has perfected a style associated with blues and cool jazz and crossed it with Latin music. It works well, because the band is one of the tightest units ever to walk into a recording studio. Of white bands, only Chicago can equal their percussion, but Chicago is held together by horns, while Santana is held together by timbales and congas.

"Oye Como Va" is the highlight of the album. It's only weakness is that Roli's fine organ has been mixed too low. This is a different trip for Santana, much more into the styles of the younger Puerto Rican musicians in New York, like Orchestra DJ and Ray Olan, and farther from the Sly trip that dominated their first album. Unless you really dig Latin music or some of the middle period work of Herbie Mann and the Jazz Messengers, you may not enjoy this cut or the album at all.

Abraxas is one of the new independent productions for Columbia done at Wally Heider's studio, and bass player Dave Brown did much of the engineering. The album he has helped to come up with may lose Santana some of their younger audience, but is bound to win them respect from people interested in Latin jazz music. On Abraxas, Santana is a popularized Mono Santamaria and they might do for Latin music what Chuck Berry did for the blues.

The major Latin bands in this country gig for $100 a night, and when you see them, you can't sit still. If Santana can reach the pop audience with Abraxas, then perhaps there will be room for the old masters like La Lupe and Puente to work it on out at the ballrooms. But for now, Abraxas is a total boogie and the music is right from start to finish. (RS 73)

~ Jim Nash (December 24, 1970)

TRACKS:

1. "Singing Winds, Crying Beasts" (Carabello) - 4:51

2. "Black Magic Woman/Gypsy Queen" (Green/Szabo) - 5:22

3. "Oye Como Va" (Puente) - 4:16

4. "Incident at Neshabur" (Gianquinto, Santana) - 4:57

Side two

1. "Se a Cabo" (Areas) - 2:50

2. "Mother's Daughter" (Rolie) - 4:25

3. "Samba Pa Ti" (Santana) - 4:54

4. "Hope You're Feeling Better" (Rolie) - 4:11

5. "El Nicoya" (Areas) - 1:30

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screamingforyears · 2 months

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IN A MINUTE:

A NEW MUSIC ROUND_UP…

“GOO GOO” is the lead single from @_blous3_’s forthcoming LP titled ‘Synchronized Swimming’ (10/4 @cherub.dream.records) & it finds the Sacramento-based quartet taking the baby formula big wigs to task across a screamy sub-3 min slice of noise_rawking AltPunk.

“FIGURINE” is the official lead single from @halfwaif’s forthcoming LP titled ‘See You At The Maypole’ (10/4 @antirecords) & it finds singer/songwriter/producer Nandi Rose’s New York-based project “celebrating togetherness amid personal strife” across 4 ½ deeply empathetic mins of elegantly experimental & airily textured MoodRingPop.

@nailstyranny are here w/ “LACKING THE ABILITY TO PROCESS EMPATHY,” the latest single from their forthcoming LP titled ‘Every Bridge Burning’ (8/30 @nuclearblastrecords) & it finds Todd Jones’ resurrected project, newly rounded out here by guitarist Shelby Lermo, bassist Andrew Solis & drummer Carlos Cruz brutalizing their way across 2 metallically morose & heavily sludge’d mins.

“IN A DREAM” is the lead single/track from @tracemountains’ forthcoming LP titled ‘Into The Burning Blue’ (9/27 @lameorecords) & it finds the New York-based project of LVL UP’s Dave Benton setting the scene while waxing upon “state-inflicted suffering” across 7+ mins of poppily propulsive & heavily heartland-ing SoftRock.

“BRANDISH THE BLADE” is the lead single from @undeathny’s forthcoming LP titled ‘More Insane’ (10/4 @prostheticrecords) & it finds the Rochester-based quintet of vocalist Alexander Jones, guitarists Kyle Beam/Jared Welch, bassist Tommy Wall & drummer Matt Browning brining their “biggest, baddest, nastiest” across a sub-4 min slice of ambitiously anthemic, pulverizingly riffed & spirit evoking DeathMetal.

#music #screamingforyears #songs #metal #deathmetal #postpunk #indie #rock #indierock #goth #alternative #aesthetic #Spotify

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jpbjazz · 2 months

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LÉGENDES DU JAZZ

EFFICACITÉ ET SUBTILITÉ : DAVE HOLLAND Né le 1er octobre 1946 à Wolverhampton, en Angleterre, Dave Holland a appris le ukulele à l’âge de quatre ans, avant de passer à la guitare, puis à la contrebasse. Après avoir abandonné l’école à l’âge de quinze ans afin de se joindre à un groupe de musique populaire, il n’avait pas tardé à s’intéresser au jazz.

Après avoir appris dans le magazine Down Beat que Ray Brown avait été élu meilleur contrebassiste de jazz, Holland s’était rendu dans un magasin de disques et avait acheté deux albums mettant en vedette Brown et le pianiste Oscar Peterson. Holland avait également fait l’acquisition de deux disques du bassiste Leroy Vinnegar (‘’Leroy Walks’’ et ‘’Leroy Walks Again’’), uniquement parce que celui-ci était photographié avec son instrument sur la pochette. Il n’avait fallu qu’une semaine à Holland pour changer sa basse électrique pour une contrebasse. En plus de Brown et Vinnegar, Holland s’était également intéressé aux contrebassistes Charles Mingus et Jimmy Garrison. DÉBUTS DE CARRIÈRE Après être déménagé à Londres en 1964, Holland avait joué de la contrebasse dans de petites salles et avait commencé à étudier avec James Edward Merrett, le principal contrebassiste de l’Orchestre philharmonique et, plus tard, du BBC Symphony Orchestra. Merrett avait appris à Holland à bien lire la musique et lui avait recommandé de poser sa candidature à la Guildhall of Music and Drama où il avait étudié durant trois ans, même si le jazz était encore considéré comme une forme d’art assez mineure.

À l’âge de vingt ans, tout en poursuivant ses études, Holland avait joué au Ronnie Scott’s Jazz Club, le principal cabaret de jazz de Londres, où il avait accompagné des musiciens américains en tournée comme Coleman Hawkins, Ben Webster et Joe Henderson. Holland avait également développé des liens avec les autres musiciens de jazz britanniques, comme le guitariste John McLaughlin, les saxophonistes Evan Parker et John Surman, le pianiste d’origine sud-africaine Chris McGregor et le batteur John Stevens. En 1968, Holland avait aussi collaboré aussi avec le Spontaneous Music Ensemble lors de l’enregistrement de l’album ‘’Karyobin.’’ Au cours de cette période, Holland avait également commencé à travailler avec le trompettiste d’origine canadienne Kenny Wheeler. Cette collaboration s’était poursuivie jusqu’à la mort de Wheeler en 2014. UN TREMPLIN NOMMÉ MILES DAVIS En 1968, le trompettiste Miles Davis et le batteur Philly Joe Jones avaient entendu Holland jouer au Ronnie Scott’s Jazz Club en première partie du trio de Bill Evans. Jones avait dit à Holland, qui était déjà considéré comme un virtuose, que Miles avait besoin de lui pour remplacer Ron Carter. Quant à Davis, il avait quitté le Royaume-Uni avant que Holland n’ait pu le contacter. Deux semaines plus tard, on avait donné trois jours à Holland pour s’envoler vers New York afin de jouer au club de Count Basie. Holland était arrivé la veille, et avait été le compagnon de chambre du batteur Jack DeJohnette, qu’il connaissait déjà. Le lendemain, Herbie Hancock avait accompagné Holland jusqu’au club, C’est ainsi que la collaboration de deux ans de Holland avec Miles Davis avait débuté. Il s’agissait du dernier concert de Hancock avec Davis, qui était parti quelque temps plus tard pour une lune de miel au Brésil. Hancock avait été remplacé comme pianiste par Chick Corea. Holland avait fait son premier enregistrement avec Davis en septembre 1968. Il avait joué sur la moitié des pièces de l’album ‘’Filles de Kilinanjaro’’.

Holland avait été membre de la section rythmique du groupe de Davis durant tout l’été 1970. Dans le cadre de sa collaboration avec le groupe, Holland avait participé à l’enregistrement des albums ‘’In a Silent Way’’ et ‘’Bitches Brew.’’ Lors de la première année de sa collaboration avec Davis, Holland jouait principalement de la contrebasse, mais à la fin de 1969, avec le virage opéré par Miles vers le jazz-fusion, il avait commencé à jouer de la basse électrique. Holland était aussi membre du groupe de travail de Davis à cette époque, contrairement à plusieurs des musiciens qui apparaissaient seulement aux enregistrements studio du trompettiste.

Ce qu’on avait appelé le ‘’quintet perdu de Davis’’ (celui-ci était formé de Davis, Wayne Shorter, Chick Corea, Dave Holland et Jack DeJohnette) était toujours actif en 1969 mais il n’avait jamais fait d’enregistrement studio en tant que tel. En 1970, un enregistrement en concert du groupe avec le percussionniste Airto Moreira avait été réalisé sous le titre de ‘’Live at the Filmlore East, March 7, 1970 : It’s About Time’’, mais il n’avait été publié qu’en 2001. Steve Grossman avait remplacé Shorter au saxophone au début de l’année 1970. Keith Jarrett s’était joint au groupe peu après comme second pianiste. Quant à Gary Bartz, il avait remplacé Grossman à l’été 1970. À la fin de l’été, le guitariste de blues et de R&B Michael Henderson avait remplacé Holland. UN VIRTUOSE EN FORMATION Après avoir quitté le quintet de Davis, Holland s’était joint au groupe de jazz d’avant-garde Circle, formé du pianiste Chick Corea, du batteur Barry Altschul et du saxophoniste Anthony Braxton. Sa collaboration avec le groupe Circle avait marqué le début d’une période de dix ans pendant laquelle Holland avait été associé à l’étiquette allemande ECM. Après avoir enregistré quelques albums, le groupe Circle avait été dissous après le départ de Corea.

En 1972, Holland avait enregistré un premier album sous son nom intitulé ‘’Conference of the Birds’’. Avaient participé à l’album Sam Rivers, Altschul et Braxton. L’album avait aussi marqué le début d’une longue relation musicale avec Rivers. Le titre de l’album était inspiré d’un poème épique de 4500 lignes écrit par l’écrivain perse Farid al-Din Attar.

Holland avait travaillé comme leader et comme collaborateur de plusieurs autres artistes de jazz dans les années 1970. Le 15 juin 1972, il avait accompagné Thelonious Monk dans un de ses derniers concerts. Holland avait aussi enregistré plusieurs albums importants avec Anthony Braxton de 1972 à 1976 – dont ‘’New York, Fall 1974’’ et ‘’Five Pieces’’ qui avaient été publiés par les disques Arista. Holland avait également enregistré des sessions en duo avec le saxophoniste Sam Rivers et le contrebassiste Barre Phillips, en plus d’enregistrer l’album solo ‘’Emerald Tears.’’

Toujours dans les années 1970, Holland avait collaboré avec Stan Getz et avec le Gateway Trio formé de John Abercrombie et Jack DeJohnette. Le Gateway Trio avait enregistré deux albums très influents en 1975 et 1977. Il s’était reformé en 1994 pour enregistrer deux autres albums. Comme accompagnateur, Holland avait également participé à des albums de rock et de pop. Il avait notamment collaboré en 1977 à l’album ‘’Give It up’’ de la chanteuse Bonnie Raitt.

L’APOGÉE

Après avoir formé son premier quintet en 1983, Holland avait enregistré ‘’Jumpin’ In’’,’’Seeds of Time’’ et ‘’The Razor Edge’’ avec le saxophoniste alto Steve Coleman, le trompettiste Kenny Wheeler et les joueurs de trombone Julian Priester et Robin Eubanks. Holand avait formé par la suite le Dave Holland Trio avec Coleman et DeJohnette. C’est avec ce trio qu’Holland avait enregistré en 1988 l’album ‘’Triplicate.’’ Avec Coleman, le guitariste Kevin Eubanks et le batteur Marvin ‘’Smitty’’ Smith, Holland avait enregistré par la suite l’album ‘’Extensions.’’ Holland avait aussi enregistré ‘’Life Cycle’’, un album de compositions en solo dans lequel il avait joué non pas de la contrebasse, mais du violoncelle.

Holland avait également collaboré avec des légendes du jazz comme le batteur Billy Higgins et le pianiste Hank Jones, ce qui avait donné lieu è la publication de l’album ‘’The Oracle.’’ Holland s’était aussi joint au batteur Roy Haynes et au guitariste Pat Metheny dans le cadre de la production de l’album ‘’Question and Answer.’’

Dans les années 1990, Holland avait renoué avec le saxophoniste ténor Joe Henderson, avec qui il avait déjà collaboré dans les années 1970, dans l’enregistrement d’un album-hommage à Miles Davis, intitulé ‘’So Near (So Far)’’. Avec Henderson, Holland avauit également enregistré l’album ‘’Porgy & Bess’’, une adaptation de la comédie musicale du même nom. Holland avait aussi retrouvé la chanteuse Betty Carter, avec qui il avait enregistré en 1993 l’album live ‘’Feed the Fire.’’ Un autre collaborateur de Miles Davis, le pianiste Herbie Hancock, avait invité Holland à l’accompagner en tournée en 1992. Après avoir enregistré ‘’The New Standard’’, les deux hommes s’étaient de nouveau retrouvés en 1996. Holland avait aussi participé à un hommage à l’auteure-compositrice Joni Mitchell avec le pianiste Herbie Hancock. Intitulé ‘’The Joni Letters’’, le disque avait remporté le prix Grammy remis à l’album de l’année en 2008.

Après avoir formé son troisième quartet en 1995, Holland avait enregistré l’album ‘’Dream of the Elders’’ avec le vibraphoniste Steve Nelson. Le quartet comprenait également le saxophoniste ténor Chris Potter, le joueur de trombone Robin Eubanks et le batteur Nate Smith. Parmi les enregistrements du quartet, on remarquait ‘’Points of View’’, ‘’Prime Directive’’, ‘’Not for Nothin’’, ‘’Extended Play: Live at Birdland’’ et ‘’Critical Mass.’’

En plus de ses quatre albums en quintet pour ECM, Holland avait décidé de lancer son propre big band. Le groupe avait publié un premier disque en 2002 sous le titre de ‘’What Goes Around’’. L’album avait permis à Holland de remporter le premier prix Grammy de sa longue carrière dans la catégorie ‘’Best Large Jazz Ensemble.’’ Le deuxième album du big band, intitulé ‘’Overtime’’ a été publié en 2005 et a remporté un autre prix Grammy dans la même catégorie. L’album avait été enregistré sur la propre étiquette de Holland, Dare2, qu’il avait fondée la même année. Dans une entrevue, Holland expliqué pourquoi il avait décidé de fonder sa propre maison de disques:

“It had been a long-term goal of mine to create a record label for the release of my own recording projects. In 2004, with the help and guidance of my daughter and business manager Louise Holland, we established Dare2 records so that we could retain ownership of the master recordings and have more control over the scheduling, production, presentation and marketing of releases. In 2019 Edition Records released the album ‘Good Hope’ by The Crosscurrents Trio, a group co-lead by Zakir Hussein, Chris Potter and myself. Working with Edition Records and its owner Dave Stapleton was a very positive experience and I was particularly impressed by the quality of their product and the use of creative strategies suited to the contemporary market. Discussions regarding a collaboration between Edition and Dare2 resulted in an agreement to work together on future releases of both new and archived recordings. I look forward to this new partnership”. En 2009, Holland avait co-fondé le groupe tout-étoile Overtone Quartet. L’ensemble était formé d’Holland à la contrebasse, de Chris Potter au saxophone ténor, de Jason Moran au piano et d’Eric Harland à la batterie. Le groupe avait réalisé une importante tournée aux États-Unis et en Europe. En 2014, Holland a également enregistré un album en duo avec le pianiste Kenny Barron intitulé ‘’The Art of Conversation.’’

Dave Holland a remporté plusieurs honneurs au cours de sa carrière, dont les prix du musicien de l’année, du big band de l’année et du bassiste acoustique de l’année accordés par le magazine Down Beat. Le Festival international de jazz de Montréal lui a également décerné le Miles Davis Award en 2005. Holland faisait aussi partie des cinq compagnons élus par le National Endowment for the Arts en 2017. Holland était également récipiendaire d’un doctorat honorifique du New England Conservatory de Boston où il avait enseigné à plein temps en 1987-1988 et où il a occupé un poste d’artiste en résidence à partir de 2005. Holland a décroché deux autres doctorats honorifiques: le premier du Berklee College of Music de Boston, et le second du conservatoire de Birmingham, en Angleterre. Il a également été nommé compagnon de la Guildhall School of Music and Drama de Londres, en plus d’être élu membre honoraire de la Royal Academy of Music au Royaume-Uni.

De 1982 à 1989, Holland avait également été directeur artistique du Banff Summer Jazz Workshop de la Banff School of Fine Arts en Alberta, au Canada. Holland donne aussi des ateliers de travail et des cours dans plusieurs universités à travers le monde, en plus d’être président du National Youth Jazz Collective au Royaume-Uni. Dave Holland a participé à des centaines d’enregistrements au cours de sa carrière, en plus d’avoir enregistré plus d’une trentaine d’albums sous son propre nom.

SOURCES:

''Dave Holland.'' Wikipedia, 2022. DaveHolland.com

#jazz

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newmusicradionetwork · 2 months

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Patti Spadaro Band "Glass Shatters"

Patti Spadaro, known for her introspective, heartfelt songwriting and creative lead guitar work, brings a hopeful perspective to her music, aiming to inspire and unite. Her organic grooves, memorable original compositions, and spontaneous jam sessions are the trademarks of the Patti Spadaro Band, a group that firmly believes in the uplifting and transformative power of music. Her latest single, “Glass Shatters,” set to release on June 8, 2024, is a celebration of women and the historical milestone of the first female Vice President. Written by Spadaro, the track was recorded at Blue Door Recorders in Pittsburgh, showcasing local talent including Anne Celedonia (keys/vocals), background vocalists Cherylann Hawk, Jill Simmons & Alison McTavish, drummer and recording engineer Eric Kurtzrock, and bassist Ryan Black. The album “Bringing Me Back” features Spadaro’s passionate guitar work and vocals, harmonizing with singer Jill Simmons (Brown Eyed Women). The album is lifted by the drumming finesse of Jim Donovan (Rusted Root) and Eric Kurtzrock, with keyboard contributions from Skip Sanders (The Clarks, Bill Deasy). The tracks delve deep, exploring themes of self-discovery, integrity, love, freedom, joy, and passion. Spadaro’s musical journey started in Pennsylvania before taking her to the Musician’s Institute in Hollywood, where she stood out as one of three female guitar students among 700 male counterparts. She later made waves in Los Angeles, releasing three albums, performing in renowned clubs, festivals, and beach bars, and touring extensively along the West Coast and throughout the southwestern US. Her band made a significant impact, securing extensive radio airplay and being named as one of LA’s Top Five Bands by KTLA-TV. Despite the success, she answered the call of her roots, returning to Pennsylvania to raise her two daughters and continuing her musical career. She released two more albums and continues to record and perform. Spadaro also imparts her knowledge of yoga, meditation, and Mindfulness in Music through college courses. Throughout her career, she has collaborated with various artists, performed at numerous venues and festivals, and opened for legendary acts like Little Feat, Eddie Van Halen, Melvin Seals & JGB. Her musical influences span various genres and eras, including Bonnie Raitt, Tedeschi/Trucks, The Grateful Dead, Natalie Merchant, John Mayer, Phish, Little Feat, The Allman Brothers, Michael Franti, Sara Bareilles, Sheryl Crow, Dave Matthews Band, Counting Crows, and many more. Additional Artist/Song Information: Artist Name: Patti Spadaro Band Song Title: Glass Shatters Publishing: Patti Spadaro Music Publishing Affiliation: BMI Album Title: Bringing Me Back Record Label: MTS Record Label: MTS Michael Stover 3236587449 [email protected] Radio Promotion: National Record Promotion 3236587449 [email protected] Read the full article

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openingnightposts · 4 months

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#54Below #Cabaret #EdwardAKliszus #TonyDanza

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brookstonalmanac · 5 months

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Birthdays 5.9

Beer Birthdays

None Known

Five Favorite Birthdays

Richard Adams; writer (1920)

Dante Alighieri; Italian poet (1265)

James M. Barrie; writer (1860)

Glenda Jackson; actor (1936)

Billy Joel; pop singer, pianist (1949)

Famous Birthdays

Lisa Ann; porn actor (1972)

Pedro Armendariz; actor (1912)

George Barker; painter (1882)

János Batsányi; Hungarian-Austrian poet (1763)

Alan Bennett; English writer (1934)

James L. Brooks; writer (1940)

John Brown; abolitionist (1800)

Candice Bergen; actor (1946)

Howard Carter; Egyptologist (1873)

James Collinson; Victorian painter (1825)

John Corbett; actor (1962)

Sonny Curtis; singer-songwriter (1937)

Rosario Dawson; actor (1979)

Manfred Eigen; German physicist (1927)

Prince Fielder; Milwaukee Brewers 1B (1984)

Albert Finney; actor (1936)

Richie Furay; rock musician (1944)

Dave Gahan; English singer-songwriter (1962)

Ralph Goings; painter (1928)

Pancho Gonzales; tennis player (1928)

Tony Gwynn; baseball player (1960)

Roger Hargreaves; English author and illustrator (1935)

Paul Heaton; English singer-songwriter (1962)

Henry J. Kaiser; industrialist (1882)

Steve Katz; rock musician (1945)

Ghostface Killah; rapper (1970)

Gaspard Monge; French mathematician (1746)

Adam Opel; German engineer (1837)

José Ortega y Gasset; Spanish philosopher (1883)

Tom Petersson; rock bassist (1950)

Danny Rapp; rock & roll singer (1941)

Tommy Roe; singer-songwriter (1942)

Lisa Simpson; fictional character (1981)

Hank Snow; country singer (1914)

Mona Van Duyn; poet (1921)

Anne Sofie von Otter; Swedish soprano and actress (1955)

Mike Wallace; television journalist (1918)

Edward Weston; English-American chemist (1850)

#Birthdays

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hani-at-cu · 10 months

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Anita Wardells Tribute to Betty Carter for the EGF London Jazz Festival 2022 (PRESS RELEASE)

Our winner of two BBC Jazz awards and a British Jazz Award has made a comeback from teaching in Adelaide to put the audience at the 606 club in awe with her stunning celebration of one of the most influential jazz musicians, Betty Carter. Anita Wardell’s performance featured classics from Carter’s repertoire as a tribute and expression of the gambling nature of Carter’s renowned style that fully welcomed vocalese and improvisation to a striking degree.

For the EGF London Jazz Festival 2022, Anita Wardell’s ambition to showcase ‘…how spontaneous and ‘in the moment’ she was…’, willfully embraces Carter’s dangerously dramatic dynamic shifts and exciting emotional improvisation, skillfully and elegantly the night of her performance. The audience were left astonished; majority being vocalists, watching in amazement of the Wardell’s freedom opening in front of them. Her confidence in her ability gave The Arts Desk a place to say, ‘she has the skills and the jazz chops to do it'. The display of agility and precision mix with emotional intent by Wardell gave the 606 club an intensely intimate experience.

Costarring with Wardell were her returning collaborators pianist Robin Aspland, bassist Jeremy Brown and drummer Steve Brown, taking part of in improvising in the lively scene as fellow musicians alike. Wardell’s scat singing (vocalising without the use of lyrics) was welcomed by the band and gave ground to the performance and a drive of commitment and entertainment that Carter had dedicated her own performances to. Betty Carter being involved the works of Miles Davis and Dizzy Gillespie, her experimental style paved the way for artists like Wardell. Sebastian Scotney accounts that for those who impose a dislike to this style of singing she has talent that can change anyone’s mind easily with her modern sound and interpretations.

Wardell, born in the UK but raised in Australia attended Adelaide University and continued her musical studies at Guildhall School of Music in London. The Evening Standard deemed her ‘the most creative jazz singer in London’ with her currents albums and appearances in a documentary on Ella Fitzgerald for Ovation Television. Her appearance at the 606 club was welcomed, being happy to have her back in the scene after spending four years working at Adelaide University once more as a teacher. The expectation of her comeback leads to many to hope that she is here to stay once again.

In future, the jazz scene are hoping to catch Anita Wardell opening an act with her newest album Stars, an album with Dave McEvoy and features another tribute to late British jazz vocalist, Tina May.

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parkerbombshell · 1 year

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A Breath of Fresh Air Aug 29 2023

A Breath of Fresh Air With Sandy Kaye bombshellradio.com Tuesdays 1pm EST and Fridays 8pm EST In the heart of the ‘Swinging Sixties’, a British rock band called Savoy Brown was born and almost immediately began to have a profound impact with their pioneering blues-rock sound. Energetic Blues has always been Savoy Brown’s calling card. In fact, Blues Rock became the catch-all phrase in the late 1960s to describe the band’s music along with that of contemporaries including Cream, Fleetwood Mac, and Jimi Hendrix. Even though the band was plagued with a constantly changing line-up, the group’s guiding hand from the outset in 1966 was held by its founder, the late Kim Simmonds. Unfortunately, Savoy Brown never reached the same level of commercial success as their contemporaries but despite this they were a huge influence on the blues-rock genre, which led to their long-standing legacy in the industry. The band’s discography is a testament to their enduring influence. Albums like "Shake Down," "Blue Matter," and "Street Corner Talking" showcased the band's exceptional song writing and instrumentals. Through the 60s, 70s and 80’s songs such as “I’m Tired”, “Train to Nowhere”, “Tell Mama” and “Lay Back In The Arms Of Someone” became Hot 100 entries. Savoy Brown has always toured relentlessly, making it one of the longest running blues rock bands in existence. They also provided other groups opportunity. Kiss opened the bill on a Savoy Brown national tour as did ZZ Top, The Doobie Brothers and many, many more acts. Former members, having cut their teeth under Simmonds’ leadership, have gone on to complete their careers with other bands. Among others, these include singer Dave Walker with Fleetwood Mac and Black Sabbath, Bill Bruford with King Crimson and Andy Pyle with the Kinks. Savoy Brown helped spawn the 1968 UK Blues Rock boom and later opened the eyes of many 1970s American teenagers to their own home territory blues artists. Today, more than 50 years later, Savoy Brown remains a formidable, progressive Blues Rock force. Today the band continues without its leader, Kim Simmonds, who passed away late last year and is led by my special guests today – bassist PAT DESALVO and drummer GARNETT GRIMM. Both have been in the line-up for more than 10 years. I hope you enjoy the amazing story that is SAVOY BROWN’s musical journey. Sandy Kaye [email protected] www.abreathoffreshair.com.au fb: sandykayepresents tw:@sandykpresents podcast: https://podcasts.apple.com/au/podcast/a-breath-of-fresh-air/id1618650164 Read the full article

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scotianostra · 2 years

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Happy Birthday Brian Alexander “B. A.” Robertson, born September 12th 1956. Robertson was born and raised in Glasgow attending the former Allan Glen’s School, Glasgow,[and the Royal Scottish Academy of Music & Drama. He recorded his first album “Wringing Applause”, for Ardent Records in 1973. It enjoyed modest critical acclaim, and a nomination in Down Beat Magazine’s year end poll. He made four further albums, but had little commercial success.

He made his first television appearance with Steve Harley & Cockney Rebel (1976), played piano on the B side of “Come Up And See Me Make Me Smile”. Before finding fame in his own right B A teamed up with guitarist Terry Britten and wrote over 20 worldwide hits, the pick of them for Cliff Richard, the songs Carrie and Wired for Sound, the latter was nominated Ivor Novello Song of the Year in 1981.

It was around the same time his singing career took off. He enjoyed chart success in Europe, with six hit singles as an artist. The first, “Bang Bang”, achieved sales over 1 million, the last Flight 19, in 1982, a #1 in Iceland! This track inspired a ground breaking music video directed by Brian Grant. BA was nominated Ivor Novello Songwriter of the Year 1980, UK Male Vocalist, Daily Mirror Rock & Pop Awards 1980, JVC Scottish Musician of the Year 1982. He recorded with Maggie Bell in 1982, Frida from Abba, 83, and Lulu in 84.

As well as appearing in concert, he also featured on radio and television. Was a frequent guest broadcaster for the BBC, from 1980 to 1985. Hosted his own music series “BA In Music”. In 1986 he was commissioned to compose the music for The Commonwealth Games in Edinburgh. He has written more than 30 themes, songs, and scores, for film, television and special events. These include “The Other Side of The World” by Chaka Khan for the motion picture “White Nights”, music for one of the UK’s longest running talk shows “Wogan”, and “We Have A Dream” for Scotland’s World Cup Football Squad of 1982.

Throughout the 80’s and 90’s he continued to write and work in the studio with another diverse group, including Sam Brown, Roger Daltrey, Lonnie Donegan, Dave Edmunds, Bernard Edwards, Peter Frampton, Alan Gorrie, John Jarvis, Maz + Kilgore, Joe Sample, Helena Springs, and Andy Taylor (Duran Duran).

He met Genesis guitarist Mike Rutherford in 1985, and began a second long term writing collaboration. He introduced Paul Carrack to the embryo Mike & The Mechanics. As writer and musician, he featured on six of their studio albums. Wrote their first hit single “Silent Running”, Billboard’s number 1 Rock Song of 1986, and the international success, “The Living Years”. This most celebrated of his lyrics written when his father died twelve weeks before the birth of his son.

At the 1990 Grammy Awards, “The Living Years” had four nominations, including Song of the Year. BA was pipped for the statuettes by good friend Arif Mardin and “The Wind Beneath My Wings”. In London, at The Ivor Novellos, ‘The Living Years’ topped 1991 Grammy winner “Another Day in Paradise” for Best Song. He was invited to set up offices at The Walt Disney Studio, by Michael Eisner, and Jeffrey Katzenburg. BA moved with his family to Los Angeles.

He remained a feature on the lot for over three years. Was Creator, and Producer of Grammy nominated, multi-platinum, music video, “Simply Mad About The Mouse”. Artists include Harry Connick Jnr., LL Cool J., Billy Joel, and Bobby McFerrin.

1991 saw “Silent Running” and “The Living Years”, awarded “MillionAir” status by BMI, for more than one million broadcast performances in the US. “Silent Running” has now reached almost three million plays, and 'The Living Years’ over four.

From 1993 through 1995, he put together, “With Your Hand on My Heart” for Patti LaBelle and Michael Crawford. Michael’s album had a double Grammy nomination and world wide sales of more than 2 million. Wrote music for “Baywatch”, the world’s most popular television show and collaborated on a musical with Burt Bacharach, for me it shows his class.

He continued to work with Mike & The Mechanics, had six songs in the “Beggar On A Beach of Gold” project including the title song, and another six on their, multi-platinum CD, “Hits”. He worked as writer, and musical associate to Phil Ramone on the stage production “EFX¬î, at the MGM Grand Las Vegas. The opening song "Somewhere in Time , a collaboration with John Barry.

I’ve chosen this track to remind people that the regardless of what else in the news the war in Ukraine continues. This is a previously unreleased live version of Silent Running, recorded at Gilded Balloon, Brian penned the words, Paul Carrick and him did the music. This version was released in July with all proceeds going to Mail Force Ukraine Appeal charity.

The story behind the release is an Edinburgh granny, Lori Hailes heard the track on a long car journey, her partener knew Robertson and the words of the song:struck a chord with Lorri, particularly the lyrics about keeping guns and ammunition close at hand, and the haunting chorus “Can you hear me?” Lori insisted i that he call the singer/songwriter immediately to ask if he would allow the song to be released as a fundraiser for Ukrainian people, for the children and refugees. BA agreed, a partnership with Mail Force – Ukraine Appeal charity ensued.

I think you’ll agree the words suit the situation very well.

Silent Running

Take the children and yourself And hide out in the cellar By now the fighting will be close at hand Don't believe the church and state And everything they tell you Believe in me, I'm with the high command Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? There's a gun and ammunition Just inside the doorway Use it only in emergency Better you should pray to God The Father and the Spirit Will guide you and protect from up here Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? Swear allegiance to the flag Whatever flag they offer Never hint at what you really feel Teach the children quietly For some day sons and daughters Will rise up and fight while we stood still Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? Can you hear me, can you hear me running? Can you hear me running, can you hear me calling you? Can you hear me running (can you hear me calling you?) (Can you hear me) hear me calling you? (Can you hear me running) hear me running babe? (Can you hear me running) hear me running? Calling you, calling you

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