#herbie hancock trio

[jazzdailyblog]

Bill Evans: A Harmonic Poet of Jazz

Introduction: In the tapestry of jazz, some artists are not just musicians; they are poets, painting stories with the strokes of their instruments. Bill Evans, the celebrated American jazz pianist and composer, stands as one such poetic soul whose music transcends mere notes. With his distinctive harmonies, introspective melodies, and unparalleled sensitivity, Evans reshaped the landscape of…

[tocafitas]

'Round midnight

Desde meados dos anos 2000, quando conheci o programa “Linha Imaginária” na Cultura FM (São Paulo/SP), tenho o costume de dormir algumas noites escutando jazz bem baixinho, mesmo sendo semi-analfabeto em repertório do gênero desde sempre. Ainda escuto o “Cultura Jazz”, substituto do “Linha Imaginária” na mesma Cultura FM, mas nem tudo que toca é muito apropriado pra quem tá tentando…

[luizdominguesfan]

https://mkkwebradio.com.br/

Amigos: Eis a 21ª edição do programa "Cabine de Som" via MKK webradio!

Segunda-feira, dia 3 de junho, a partir das 23 horas, com repetição no sábado, dia 8, às 15 horas). Mediante mais duas repetições na segunda (dia 10 - 23 horas) e sábado, dia 15 de junho às 15 horas.

Nesta edição, falo a respeito da espetacular versão Jazz-Rock para o tema erudito de Richard Strauss, "Also Sprach Zarathustra" perpetrada pelo genial músico brasileiro, Eumir Deodato e no mesmo bloco, desvendo um dos maiores enigmas do Rock setentista: quem é o autor da música "Freedom of Expression", famoso tema usado pelo programa "Globo Repórter": seria o Captain Beefheart, como se especulava na época? Não, se trata de Jim Bowen Pickers, um obscuro baixista de Rockabilly que se aventurou a criar trilhas para filmes e seriados de TV. No segundo bloco, falo sobre dois gênios da Black Music, um ligado mais ao Jazz e o outro, rei do R'n'B/Soul Music: Herbie Hancock e Stevie Wonder. Terceiro bloco com dois grupos brasileiros muito bons de vocalização: Trio Ternura e Os Tincoãs. Para encerrar, dois grupos de Rock dos anos sessenta obscurecidos na história, mas de grande qualidade: o britânico, Paladin e o norte-americano, Corpus.

Pauta e locução: Luiz Domingues. Edição e produção: Markko Mendes. Foto: Lincoln Baraccat

[thejoyofviolentmovement]

News/Announcements: Newport Jazz Festival Announces Exciting Additions to 2023 Lineup

News/Announcements: Newport Jazz Festival Announces Exciting Additions to 2023 Lineup @NewportJazzFest @grandstandhq @FortAdamsTrust

Summer Festival season is coming, y’all! And that means festival announcements. So let’s get to it, right?  Newport Jazz Festival will be returning to Rhode Island’s Fort Adams State Park for its 69th edition. This year’s edition will continue the festival’s long-held tradition of hosting once in a lifetime performances that can only come as a result of Newport’s unique alchemy of intimacy and…

[louceph]

oh yeah world jazz day :) remember to check out Kamasi Washington, Yusef Latif, Nina Simone, Herbie Hancock, Triosense, Ryo Kawasaki, Chelsea Carmichael, Dave Brubeck, Jean Carn, Thelonious Monk, The Vince Guaraldi Trio, Mary Lou Williams, Nubya Garcia, Grover Washington Jr, Casiopea, Billie Holiday, Shabaka Hutchings :) sounds of the summer

[jazzplusplus]

1991 - Jazz sur son 31 - Autour de Mingus - Toulouse (and surrounding towns)

Aldo Romano, Betty Carter, Irakere, Jack DeJohnette Special Edition, Mingus Epitaph, Big Band 31, Herbie Hancock & Wayne Shorter Quartet, Lou Bennett trio, Guy Lafitte Quartet, ...

[boricuacherry-blog]

John's death was a theme, but so was a desire to surrender her ego, and to offer herself to something greater. In the sleeve notes for "A Monastic Trio" (1968), Alice's first album as a bandleader, the poet and critic Amiri Baraka called her "one earth bound projection of John's spirit."

She had no problem with being defined in terms of her husband's legacy, for some of the most radical music he made was an attempt to translate their private world for the masses. It was the "earth bound" part that she resisted.

On Alice's album covers, she often wore a look of dreamy preoccupation, and their titles - "World Galaxy," "Universal Consciousness" - easily aligned her with many of her outer-space-obsessed peers such as Sun Ra or Herbie Hancock.

[dudewhoabides]

“Dolphin Dance” - Herbie Hancock Trio Live in Switzerland, 1984

[emurim]

坂本龍一と Miles Davis "Quiet Nights" - ぱらの通信

"ある雑誌で、1991年における坂本先生ご推薦のジャズ・アルバムの1枚としてあげられていた

まずは、以下のそのリストをご覧いただきたい

Sonny Clark / Cool Struttin'

Miles Davis & Gil Evans / Quiet Nights 

Miles Davis / Sketches of Spain

Miles Davis /Miles in Berlin 

Bill Evans / Bill Evans Trio with Symphony Orchestra

Erick Dolphy / Out to Lunch

Herbie Hancock / Maiden Voyage

John Zone / News for Lulu"

あれ、坂本龍一はマイルス・デイヴィスのような天才肌は好きじゃないって言ってた気がするけど3枚も入ってる。ギル・エヴァンスのアレンジ評価してるだけかな。

ネタ元の雑誌はこれか。

[lboogie1906]

Anthony Tillmon Williams (December 12, 1945 – February 23, 1997) was a jazz drummer. He gained fame as a member of Miles Davis’ “Second Great Quintet,” and pioneered jazz fusion with Davis’ group and combo, the Tony Williams Lifetime. He was inducted into the Modern Drummer Hall of Fame.

He was born in Chicago and grew up in Boston. He studied with drummer Alan Dawson at the age of 11 and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired him when he was 16.

He gained attention by joining Miles Davis. He recorded his first two albums as a leader for the Blue Note label, Life Time and Spring. He recorded as a sideman for the label including the classics Out to Lunch! And Point of Departure.

He formed the Tony Williams Lifetime, with John McLaughlin on guitar and Larry Young on organ. Their first album was Emergency! For the Turn It Over album, the trio was joined by bass guitarist and vocalist Jack Bruce. He formed “The New Tony Williams Lifetime” featuring bassist Tony Newton, keyboardist Alan Pasqua, and guitarist Allan Holdsworth, who recorded two albums, Believe It and Million Dollar Legs.

He reunited with his colleagues from the Miles Davis Quintet- saxophonist Wayne Shorter, pianist Herbie Hancock, and bassist Ron Carter. A record of their concert was released as V.S.O.P.

He, McLaughlin, and bassist Jaco Pastorius united for a performance at the Havana Jazz Festival. This trio came to be known as the Trio of Doom, and a recording of their performance was released in 2007. He and Pastorius played together on “Good Question” from Herbie Hancock’s album Sunlight. He appears with the group Fuse One on their album.

He formed his acoustic quintet with trumpeter Wallace Roney, saxophonist Bill Pierce, pianist Mulgrew Miller, and bassist Ira Coleman. The quintet played his compositions almost exclusively, recording and touring extensively, culminating in The Story of Neptune album.

He guested with the band Public Image Limited on their release Album/Cassette/Compact Disc.

One of his final recordings was The Last Wave by the trio known as Arcana. #africanhistory365 #africanexcellence

[billscheft]

This is the drummer I saw a week ago at Dizzy's Place. Just another Sunday night in Manhattan....

Billy Hart

Hart matriculated at Howard University as a mechanical engineering major, but left when Shirley Horn, who had hired him out of Abart’s, took him on the road. Hart credits her with teaching him to play bebop at a simmer, not a roar. He also learned Brazilian rhythms from the source on early ’60s sub jobs at Charlie Byrd’s Showboat Lounge with Antonio Carlos Jobim, João Gilberto and Bola Sete.

Hart apprenticed with Washington, D.C. native sons like Jimmy Cobb, Osie Johnson, Ben Dixon, Harry “Stump” Saunders and George “Dude” Brown. Through local connections, he had backstage access to the Howard Theatre, where he analyzed such master New Orleanian drummers as Idris Muhammad (the Impressions), Clayton Filliard (James Brown), Ed Blackwell and Earl Palmer (Ray Charles). In 1967, he occupied the drum chair in the theater’s house band performing with The Isley Brothers, Sam and Dave, Patti Labelle, Otis Redding and Smokey Robinson and the Miracles among others.

He was also a sideman with Jimmy Smith (1964–1966), and Wes Montgomery (1966–1968). Following Montgomery’s death in 1968, Hart moved to New York, where he recorded with McCoy Tyner, Wayne Shorter, and Joe Zawinul, and played with Eddie Harris, Pharoah Sanders, and Marian McPartland.

In 1969, Hart joined Herbie Hancock’s groundbreaking Mwandishi band and remained there for four years recording three trend-setting albums. From there he joined McCoy Tyner’s band (1973–1974) and also performed with Stan Getz (1974–1977), and Quest (1980s) in addition to extensive freelance playing and recording (including recording with Miles Davis on 1972’s On the Corner).

Howard classmate Marion Brown introduced Hart to Sunny Murray and Rashied Ali. Hart increasingly self-identified as an experimental musician, drawing on their example in a trio with Joe Chambers on piano and Walter Booker on bass. Later, during mid and late ’60s stopovers in Chicago with Jimmy Smith, Wes Montgomery and Eddie Harris, he attended to the “textural, timbral approaches” of AACM drummers Thurman Barker, Steve McCall and Alvin Fielder. He applied those lessons during two years with Pharoah Sanders, a period when, via percussionist Mtume, he received the sobriquet “Jabali” (Swahili for “wisdom”). Hart’s mature tonal personality—advanced grooves drawing on “some knowledge of African and Indian music, and all the American traditions”—emerged during his years with Hancock’s Mwandishi band and subsequent tenure with McCoy Tyner.

Hart drew on all these experiences in conceptualizing Enchance, his debut album as a leader and subsequently, Oshumare (1985), Rah (1987), Amethyst (1993) and Oceans of Time (1997). On each record, he assembled idiosyncratic virtuosos from different circles, each signifying a stream of cutting-edge jazz thought. Functioning more as a facilitator than a stylist, he meshed their distinctive personalities, generating fresh ideas through intense drum dialogue. Each date has a singular quality, as though Hart had conjured a unitary vision out of various strains of the zeitgeist.

Hart currently leads the Billy Hart Quartet featuring Mark Turner, Ethan Iverson and Ben Street. They have recorded three CDs, the most recent, One is the Other, is on ECM Records.

[jazzdailyblog]

Jack DeJohnette: The Timeless Rhythm of Jazz

Introduction: Certain drummers create an enduring impression on the jazz world, shaping the beat and groove that distinguish the genre. Among them is the illustrious Jack DeJohnette. With a career spanning more than six decades and an unmatched drumming technique that has graced numerous albums and stages, DeJohnette is a true master of his craft. This blog article honors Jack DeJohnette, a key…

[rastronomicals]

8:07 PM EDT October 20, 2024:

Robin Trower - "Love's Gonna Bring You Round" From the album In City Dreams (June 19, 1977)

Last song scrobbled from iTunes at Last.fm

This album is a rather dramatic change for Trower. Not only does the cover look like they'd've used for a 12" disco single, there is definitely a sleazy patina of echoplex and smooth jazz lacquered over everything. Just learned today that they'd actually brought in a bassplayer more familiar with the funk; James Dewar, whom anyone familiar with Trower knows was quite the serviceable bassist, is only singing on this one, and the bottom is provided by one Rustee Allen, late of Sly and the Family Stone.

The Robin Trower Band, no longer Power, and no longer Trio.

In a way, the circumstances remind me of the way Jeff Beck went from BBA to Blow by Blow. Trower, too, is softening up, leaving the blues rock behind but taking all his technique with him. And certainly, a player of Trower's talent and stature should do whatever the hell he wants to try. But where the Beck comparison breaks down is in that Blow by Blow is in no way slight, and has plenty of tuneage. Maybe if Trower had covered, oh I dunno, something from Herbie Hancock's Headhunters, In City Dreams would have had a little more gravitas, and a little more songsmithery, both of which it is decidely lacking. It's not a terrible album; if you're fully aware of the album's origin point in time comg in, it's certainly a decent listen, and Trower is always always always going to be a guitarist of tremendous feel and dexterity. The title track I think hangs with some of his best. But maybe the second best tune might be "Sweet Wine of Love," and that one is only as good as it is because of the unabashed cheese factor.

--

[jpbjazz]

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 ��lu 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.

c-2023-2024, tous droits réservés, Les Productions de l'Imaginaire historique

SOURCES:

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

[theloniousbach]

THREE TRIOS IN 25 HOURS AT MEZZROW’S

STEVE ASH with Paul Gill and Evitar Slivnik, 19 JULY 2024, 10:30 pm

SAM YAHEL with Rick Rosato and Joechen Rueckhert, 20 JULY 2024, 7:30 pm

JOHN CHIN with Sean Conly and Joechen Rueckhert, 20 JULY 2024, 10:30 pm

That these three sets were in close temporal proximity is an arbitrary but convenient thread to hang this essay on. But each had an appeal and I probably would have watched them had they been on successive weekends.

SAM YAHEL earned the Friday/Saturday evening slot and he was anointed by Joe Lovano who sat in with him for a set on his last gig. I think I saw JOHN CHIN around that same time and actually preferred him. It was STEVE ASH whom I was less familiar. That Joechen Rueckert played all four sets that Saturday night with both Yahel and Chin adds to the continuity.

All three sets were solid and adventurous, professional work all around. But of course there were differences.

ASH played the more familiar set—or at least he announced the tunes—though only Ellington’s I Got It Bad and That Ain’t Good reasonably deconstructed was familiar. Curiously I thought McCoy Tyner’s Effendi sure sounded like Herbie Hancock and he opened briskly with Something Special by Blue Note favorite Sonny Clark. Canadian Sunset was from Eddie Heywood, so besides the Ellington the only standard as Speak Low with Tyner’s arrangement. So it was a pianist’s set and Ash played with fluidity and drive. Paul Gill was impressive, soloing twice with bow and otherwise with a strong pizzicato.

I liked YAHEL more than I did on the after Lovano set. He played originals mostly but there was a bop tune in there and Embraceable You. It was a more varied set than CHIN’s and that mix of styles and approaches was convincing. Joechen Rueckhert also had more room with Yahel.

CHIN settled in and it was bassist Sean Conly who was consistently forceful in accompaniment and especially solos. Later tunes got on track and had a consistent groove, but, if I heard Hancock in the Tyner with Ash, I heard lots of Jarrett vamps and major chord grooves without the master’s same lyricism. There was a sameness to the set. The exception for both lyricism and tempo was a played through piece from an unproduced children’s musical. I Won’t Argue with You and a fragile poignancy that was quite touching.

But a fine smorgasbord of solid NYC professionals.

[nickmacleanjazz]

Very excited for the NICK MACLEAN QUARTET feat BROWNMAN ALI to be closing out the first ever CONTXT Jazz Festival! On SUN-JUN-30 we're performing a matinee concert at CONTXT where we'll be playing tunes from our JUNO nominated record 'Convergence' and a few other fun things! I'm so looking forward to sharing the stage once again with the incomparable Brownman Ali (trumpet) and the steadfast Bennett Young (bass), as well as being joined by a newcomer to the group - the incredible Michael Filion on drums filling in for the great Jacob Wutzke! Get your tickets now and make sure to check out all the fantastic events going on during the CONTXT Jazz Festival!

NICK MACLEAN QUARTET feat. BROWNMAN ALI - JUNO nominated modern jazz SUN-JUN-30, TORONTO, ON doors @ 3:30pm | show @ 4pm @ CONTXT | www.ContxtByTrane.com 254 Lansdowne Ave, Toronto, ON M6H 3X9 $15 advance, $20 door TIX: https://www.eventbrite.ca/e/912062853547

:: Nick Maclean - piano :: Brownman Ali - trumpet :: Bennett Young - bass :: Michaël Filion - drums (in for Jacob Wutzke)

This modern jazz quartet is deeply influenced by Herbie Hancock's 1960's Blue Note Quartet that featured Freddie Hubbard. Led by 10x Global Music Award winning pianist Nick Maclean & featuring Brownman Ali on trumpet, their recent chart-topping release "Convergence" was a JUNO Award nominee for "2024 Jazz Album of the Year". Maclean has been mentored by Ali for the last decade, was signed to Browntasauras Records when he was 22 and has now released 4 internationally acclaimed albums on the label.

WATCH ROAD WARRIOR from CONVERGENCE (blazing uptempo swing) https://youtu.be/qfOno29FcXM

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About CONTXT Jazz Fest 2024

www.ContxtFest.Browntasauras.com

The CONTXT Jazz Festival is a 5-day celebration of musical diversity, where the boundaries of jazz are redefined, expanded & explored. This vibrant event features an eclectic mix of jazz genres, showcasing artists both in traditional jazz & modern jazz flavours, a tribute to reggae-jazz legends, award-winning electric-jazz dynamos & multiple JUNO nominees. As these Artists push the envelope of the jazz artform, this festival is a testament to the rich and evolving nature of this music. Music lovers : join us for an unforgettable journey through the many facets of jazz at the CONTXT Jazz Festival.

5 jazz events, 5 jazz parties, 5 unforgettable experiences!

Wed-Jun-26 : JAZZ Film "Be Known" (Jazz movie night) Thr-Jun-27 : PHIL JIMENEZ TRIO (Classic jazz) Fri-Jun-28 : TRIBUTE to ERNEST RANGLIN & DON DRUMMOND (Reggae jazz) Sat-Jun-29 : ALI BROS feat. Brownman & Marcus Ali (Electric-jazz)

Sun-Jun-30 : NICK MACLEAN QUARTET (Modern jazz)

All events at 254 Lansdowne Ave., Toronto, Canada

Presented by Caliban Arts Theatre, CONTXT & Browntasauras Records