#mack avenue records

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 37]

premierowa emisja 16 października 2024 – 18:00 Graliśmy: Louis Stewart i Jim Hall “All The Things You Are” z albumu “The Dublin Concert” – Livia Records Devin Daniels “Reckon” z albumu “LesGo!” Anat Cohen “Night Owl” z albumu “Bloom” – Anzic Records Lyder Røed Quintet “Upside Down” z albumu “Upside Down” – Jazzland Recordings Dafnis Prieto “Two Sides of the Coin” z albumu “3 Sides of the…

[sinceileftyoublog]

Christian McBride’s New Jawn Live Show Preview: 3/23, Constellation, Chicago

Photo by Ebru Yildiz

BY JORDAN MAINZER

Jazz bassist Christian McBride has been especially prolific the first few years of this decade, whether leading his own bands or playing as part of Joshua Redman’s venerable quartet. His latest offering is Prime (Mack Avenue) the sophomore record from the wonderfully named New Jawn, a band made up of trumpeter Josh Evans, saxophonist and bass clarinetist Marcus Strickland, and drummer Nasheet Waits. It’s a balanced affair, consisting of 8 songs, 5 of which are originals, at least one written by each member. The diversity in artistic voice shines through, some tunes chaotic and boisterous, others deliberate and contemplative, always stunning.

There’s a self-assuredness to the playing on Prime, an album named after the idea that each band member is close to reaching their creative apex. The Strickland-penned title track exemplifies the record’s strutting attitude, as each of Strickland, Waits, and Evans showcase their skittering expressions. The band’s performance of Larry Young’s “Obsequious” is a limber free bop workout, Evans’ dazzling, flitting trumpet and Waits’ careening drums leading into a syncopated, harmonic jam. Evans’ “Dolphy Dust” clearly harks to the fluttering trumpets of Eric Dolphy, Evans’ chemistry with Strickland recalling that of Dolph and Booker Little on records like Far Cry.

Yet, it’s no coincidence that as the band leader, McBride wrote the album’s two best songs, and that they occupy each end of the album’s spectrum. Opener “Head Bedlam” is a topsy turvey crash of horn squeals and drums before settling into a funk groove, led by his bopping bass line. And his bowed playing on the slowed, barroom lament “Lurkers” is Prime’s subdued highlight beneath all the noise, effectively proving once and for all that you can be in your prime while confidently paving the way for the future.

Catch Christian McBride’s New Jawn tonight at Constellation. The band plays two shows, one at 7:30 PM and one at 9:30. Tickets still available at time of publication.

[parachutingkitten]

Just so everyone is aware, ayathefly, the account who claims to be a temp voice actress for Dragons Rising, is almost certainly my cyber stalker from last month.

She has almost the exact same story as one of the stalker accounts used to try and befriend me. Back then she was a 23yo temp voice actress named Maya who had a comedically whimsical story about her not knowing information about the ducktales reboot she was hired for. This time she's a 23yo temp voice actress named Aya who has a comedically whimsical story about not knowing information about the Ninjago reboot she was hired for. Both the accounts used generic profile pics from classic cartoons, reblogged posts of mine shortly after creating their account, and had this manner of speaking in their posts which immediately set off alarm bells in my head.

In case you are not privy to the saga, this person made a bunch of false accusations about me on one account while defending me on another in order to, I guess, try and win my favor. This after harassing, threatening, and otherwise pestering me on a number of spam accounts. This includes the full range of pretending to be a fan with a tragic story about a dead brother, to weird sex foot fetish fantasies. Since then I have received emails claiming to be showrunners interested in my feedback which I'm also certain are her.

I have also linked them back to the zanenindroid account, and the parachutingkitfanpage, both abandoned at this point, presumably because they didn't get traction.

I need you to understand I was on the fence about sharing this information. Even if they're making my life annoying, this person has at times claimed to be 16 in messages to me in the past (I figure it's possible that the 23yo thing might just be her pretending to be my same age) and I don't want to be the guy who calls out a kid who lied on the internet to try and get friends- even if what they're doing is ABSOLUTELY inexcusable, it's only really affecting me. I know how to use the block button. Turning off non-follow messaging and anon asks is annoying, but not that huge a deal if it means cutting off avenues for them to contact me.

But recently my MOTHER informed me that she got some strange messages from someone claiming to be a 23yo voice actress, and tried gaslighting her into believing she knew her mom from a writing group like 10 years ago (which is not possible btw), and should TOTALY introduce her to me, because we're the same age, and both interested in animation.

I can't not talk about this anymore. When you bring my family into this, you lose any attempt at mercy from me.

Especially given we have quite a few minors in the fandom, I feel obligated to say something. I would not feel comfortable with anyone I know or care about interacting with this person, regardless of how harmless this person thinks their intentions are. They have proved themselves to be a manipulative, lying, unhinged, and obsessive personality willing to put someone they presumably like through some of the scariest scenarios you can find yourself in on the internet- and then drag your family into it. I would ask that you do not interact, do not give them the time of day, do not try to reason with them, and try your best not to be fooled by new accounts that pop up a week from now with suspiciously similar behavior, because I'm almost certain that will happen if Aya goes silent.

Maybe you think I'm paranoid, and over blowing things, and that's your call to make, but I would not be making this post if I did not feel strongly about this.

Even if somehow this is not the same person, and I am falsely linking these two nearly identical identities, at the very least Aya is not who she proports to be. She claims to have provided temp voices for season 3 just this month (temp voices being temporary voice work done before the actual actors are able to record their lines), but Devon Mack (voice actor for Arin) has confirmed that he was in the middle of recording the official dialogue for season 3 back in January of this year. The idea that the production team would only just now be recording TEMP dialogue for animation that's going to release in just a few months is an absolutely WILD claim. I can not convey to you what an insanely truncated timeline that would be. I don't even think that Dragons Rising is a the kind of show to use temp dialogue, none the less have the budget and time to hire out if they did need temp voices, rather than just using production members like most temp work.

Please, be careful out there everyone.

I'm praying I never have to address this again.

[godlessondheimite]

I made a list of musicals I have either seen straight-through at least once, or listened to the cast recording multiple times and consider myself conversant in them. Can't tell if it's a lot or less than you'd expect.

A Chorus Line

A Little Night Music

American Psycho

Anyone Can Whistle

Assassins

Avenue Q

Bare: A Pop Opera

Blood Brothers

Book of Mormon

Bridges of Madison County

Caroline or Change

Cats

Chess

Company

Dear Evan Hansen

Evita

Falsettos

Fiddler on the Roof

Fiorello

Floyd Collins

Follies

Fun Home

Gentleman’s Guide to Love and Murder

Great Comet

Groundhog Day

Gypsy

Hadestown

Hamilton

Hamilton

Hello Dolly

Here We Are

In My Life

Into the Woods

Jesus Christ Superstar

Kimberly Akimbo

King and I

Kiss of the Spider Woman

Last Five Years

Les Miserables

Little Shop of Horrors

Mack and Mabel

Man of No Importance

Merrily We Roll Along

My Fair Lady

Next to Normal

Oklahoma

Oliver

Pacific Overtures

Parade

Phantom of the Opera

Pippin

Rags

Ragtime

Rent

Road Show

Rocky Horror

Seussical

Smile

Sound of Music

Spelling Bee

Spring Awakening

Sunday in the Park with George

Sweeney Todd

Teeth

The Producers

Tick Tick Boom

Titanic

Urinetown

Waitress

West Side Story

Wizard of Oz

[lboogie1906]

Tia Fuller (born March 27, 1976) is a saxophonist, composer, and educator, and a member of the all-female band touring with Beyoncé. She is a faculty member in the ensembles department at Berklee College of Music. She was a Featured Jazz Musician in Soul. She plays an alto saxophone with a Vandoren mouthpiece for the character Dorothea Williams. The appearance of Dorothea Williams is influenced by her.

She was born in Aurora, Colorado to jazz musicians Fred and Elthopia Fuller. Her father plays bass and her mother sings. Her sister, Shamie is a jazz musician and educator. She grew up listening to her parents rehearse in the basement of their home, as well as to the music of John Coltrane, Sarah Vaughan, and Charlie Parker.

She began playing saxophone at Gateway High School, after which she continued her musical education at Spelman College. She performed with Ray Charles and in Atlanta’s jazz clubs. She graduated magna cum laude with a BA in Music and went on to complete her MA in Jazz Pedagogy and Performance from the University of Colorado at Boulder.

She has performed with several jazz artists, including Esperanza Spalding, Terri Lyne Carrington, Ralph Peterson Septet, the T.S. Monk Septet, the Jon Faddis Jazz Orchestra, the Rufus Reid Septet, the Sean Jones Quintet, and the Nancy Wilson Jazz Orchestra.

She has led a quartet that includes Shamie Royston on piano, Kim Thompson on drums, and Miriam Sullivan on bass, and with whom she has recorded the albums Pillar of Strength (2005, Wambui), Healing Space (2007, Mack Avenue), and Decisive Steps (2010, Mack Avenue).

In 2012, she toured with Esperanza Spalding as leader of the Radio Music Society horn section, in which she played saxophone in dialogue with Spalding’s scat singing. She was nominated for a Grammy Award for her 2019 album Diamond Cut. She was an artist in residence at the Burlington Discover Jazz Festival. #africanhistory365 #africanexcellence #womenhistorymonth

[lunaluster]

Hate to be the bubble burster, genuinely since some sports can absolutely be desegregated with few consequences, but the sex division is there for a good reason. It's been shown through multiple avenues that having higher testosterone levels increases athletic performance.

If there was 0 difference, there wouldn't be the universal ban on anabolic steroids(designed to mimic testosterone) in professional athletics. We wouldn't have the real life story of Mack Beggs; a trans boy in 2017 who had been taking testosterone and was forced to compete in the Texas State Women's Tournament. He promptly steamrolled every match like he was Baki Hanma.

The differences have been recorded on scale in the US Air Force, where trans servicemen and women after a year of respective HRT fell into line with their chosen gender. There were small discrepancies recorded(Trans Women still were slightly faster in their mile and Trans Men surprisingly FASTER than Cis Men), but ones that would have likely disappeared after 2 years or more.

Even if cis men and women had zero physical differences, women's league would likely still exist due to sociological and cultural factors impacting women's presence and enthusiasm for sports.

Women participate in less and perform on average worse in chess, despite testosterone not giving you any advantage in moving little pieces of wood on a board or clicking a mouse. There's a fascinating study where women being told or not told their opponent's gender in online chess impacted their performance noticably. Women acted less aggressively against a known male opponent, winning 1 in 4 games, and having an average win rate when they were told they were female, even if the opponent was actually male.

God, anyone else remember when everyone understood that the correct feminist position about sports was that women should be allowed to compete with men because they're just as capable? When it was a trope in media to have the mysterious star athlete who just blew everyone else out of the water to take off her helmet and reveal that she was a woman the whole time?

Now people are rabidly arguing that supposed "men" (trans women) have inherent insurmountable biological advantages and cis women are too weak and dainty and unskilled to ever compete and must be protected, and then they try to call themselves feminists who are being silenced as if that's not just the mainstream sexist patriarchal opinion

Anyway, desegregate sports. There was never any reason to separate them by gender in the first place

[garudabluffs]

Jitterbug Waltz - Original · Dinah Washington

Composer: Waller

Composer: Manners

Composer: Grean

Lyricist: Waller

Lyricist: Manners

Lyricist: Grean

Jitterbug Waltz · Krissie & the Kranks

℗ 6226242 Records DK Released on: 2023-11-30

Les Victoires du Jazz 2014 Cécile McLorin Salvant -Jitterbug Waltz (Fats Waller)

Jitterbug Waltz · Cécile McLorin Salvant

· Fats Waller · Charles Grean · Maxine Manners

WomanChild ℗ 2013 Mack Avenue Records II, LLC

[projazznet]

Kenny Garrett – Seeds from the Underground

Seeds from the Underground is the thirteenth studio album by Kenny Garrett. It was released on April 10, 2012, on Mack Avenue Records and received two Grammy nominations in Best Jazz Instrumental Album and Best Improvised Jazz Solo categories, as well as a NAACP Image Award nomination in Outstanding Jazz Album category, a Soul Train Award nomination in Best Traditional Jazz Artist/Group category, a Jazz Awards nomination for Alto Saxophonist of the Year[8] and an Echo Award win in the Saxophonist of the Year category. It features Garrett in a quintet with pianist Benito Gonzalez, bassist Nat Reeves, percussionist Rudy Bird and drummer Ronald Bruner, along with a small choir.

[carmenvicinanza]

Cécile McLorin Salvant

https://www.unadonnalgiorno.it/cecile-mclorin-salvant/

Il tema dell’identità è potente perché giustifica un sacco di cose terribili e un sacco di cose bellissime.

Cécile McLorin Salvant è una compositrice, cantante e artista visiva sofisticata e vulcanica.

Tra le vocalist più acclamate d’Oltreoceano, ha già vinto tre Grammy Award. La sua ricerca spazia tra vaudeville, blues, tradizioni popolari di tutto il mondo, teatro, jazz e musica barocca, portando alla luce canzoni raramente registrate e dimenticate, con forti narrazioni, colpi di scena inaspettati e umorismo. Molti suoi testi parlano di razza, femminismo e oppressione.

È nata a Miami il 28 agosto 1989, suo padre è haitiano e sua madre, francese della Guadalupa, è nata in Tunisia. L’ambiente multiculturale familiare le ha fatto sviluppare una curiosità quasi onnivora nei confronti della musica ma anche della letteratura, dell’arte e delle tradizioni orali.Ha iniziato a studiare pianoforte a cinque anni e canto classico a otto.

A 18 anni ha vinto una borsa di studio al conservatorio di Aix-en-Provence, in Francia dove ha studiato canto barocco e lirico e, nello stesso tempo, si è laureata anche in giurisprudenza.

In Francia è nato il suo amore per il jazz e per la prima volta si è esibita in pubblico.

Descrive il suo sound come jazz, blues, con elementi di folk e teatro musicale. Compone musica e testi che canta anche in francese, sua lingua madre, oltre che in spagnolo.Nel 2010, ha pubblicato il suo primo album Cécile & the Jean-François Bonnel Paris Quintet. Aveva 21 anni quando ha vinto la Thelonious Monk International Jazz Competition che includeva un contratto discografico con l’etichetta Mack Avenue Records, con cui ha pubblicato i suoi due album successivi, WomanChild del 2013, nominato per un Grammy Award 2014 nella categoria Best Vocal Jazz Album e For One to Love del 2015. Questo disco, che comprende brani che parlano di indipendenza e forza femminile, nel 2016, le è valso un Grammy per il miglior album jazz vocale. Due anni dopo, il suo album Dreams and Daggers, ha vinto un Grammy nella stessa categoria. La sua Ogresse è una favola musicale in forma cantata che fonde vari generi di cui ha scritto la storia, i testi e la musica. Esplora il feticismo, la fame, la diaspora, i cicli di appropriazione, la menzogna, l’alterazione e l’ecologia.Il suo settimo album, Mélusine, è stato pubblicato in digitale il 24 marzo 2023. Mélucine è la leggendaria donna che, per effetto di una maledizione si trasforma per metà in serpente, fino a quando non fugge in forma di drago quando viene scoperta dal marito. Cécile McLorin Salvant ne ha tratto cinque nuove composizioni e nove riletture di brani scritti tra il XII e il XVII secolo, cantati in francese, inglese, occitano e creolo haitiano. Ne ha anche tratto uno storybook con quadri coloratissimi, silhouette e parole, per dare forma a emozioni e pensieri.

Ogni suo disco o live set, rivela connessioni continue e rimandi che passano con naturalezza attraverso diversi stili musicali che toccano tradizioni popolari, passando per le arti visive e il teatro.

Cécile McLorin Salvant possiede una varietà timbrica e un controllo che hanno pochi eguali, associati a emozionanti doti interpretative che le permettono di affrontare ogni avventura musicale con una finezza nei dettagli palpabile e al contempo naturale.

La nota soprano Jessye Norman ha detto di lei che possiede una voce unica sostenuta da un’intelligenza e da una musicalità completa, che illuminano ogni nota che canta.

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 17]

premierowa emisja 15 maja 2024 – 18:00 Graliśmy: Christian Mc Bride, Edgar Meyer “Bebop, of Course” z albumu “But Who’s Gonna Play The Melody?” – Mack Avenue Records Raw Fish  “Stroganina” z albumu „Crudo” – Loumi Records Andy Milne and Unison “Purity of Heart” z albumu “Time Will Tell” – Sunnyside Records Alec Goldfarb feat. David Leon “And the Red Light was my Mind” z albumu “Fire Lapping…

[protoslacker]

Isn’t this a beautiful record package!  I imagine someone in the future, say the year 2064, never having heard Joey Alexander, holding the sea glass colored vinyl  disc and placing on a record player and a universe opening up.

Jazz really isn’t my cup of tea,  so I hadn’t heard of Joey Alexander even though he’s received lots of attention.  Rcently watched a video and have enjoyed exploring his music.

He’s a self-taught prodigy from Bali who discovered jazz music from his father’s record collection. When he was only 8 years old he got to play for Herbie Hancock when Hancodk was perforiming in Indonesia.

He’s a gifted player. Paul Conley remarks:  “Whether it’s experimental or totally tuneful, Alexander’s playing nearly always has a soulful gospel feeling to it.”  I didn’t think “gospel” music, but definately conected with a feeling of essential goodness in his performances. Gonley quotes Aleanander:

“It’s still a central part of my music because I know that it is God’s given gift. And we serve others through our music.”

All of the music on Origin was composed by Aleander. If you haven’t seen him play before the video for his composition Bali is pretty. He’s 15 years old in it and he’s a wonder.

[binkloves]

Cécile McLorin Salvant

[yasbxxgie]

Mack Avenue SuperBand Paint Brushes (Live) Live From The DJF (Mack Avenue, 1/15/16)

Since its rollicking debut at the 2012 Detroit Jazz Festival, the Mack Avenue SuperBand has become a tradition at the annual event, a gathering of label superstars that the Motor City can look forward to every Labor Day weekend.

[h/t]

+

[lboogie1906]

Tia Fuller (born March 27, 1976) is a saxophonist, composer, and educator, and a member of the all-female band touring with Beyoncé. She is a faculty member in the ensembles department at Berklee College of Music. She was a Featured Jazz Musician in Soul. She plays an alto saxophone with a Vandoren mouthpiece for the character Dorothea Williams. The appearance of Dorothea Williams is influenced by her. She was born in Aurora, Colorado to Jazz musicians Fred and Elthopia Fuller. Her father, Fred, plays bass and her mother, Elthopia, sings. Her sister, Shamie, is a jazz musician and educator. She grew up listening to her parents rehearse in the basement of their home, as well as to the music of John Coltrane, Sarah Vaughan, and Charlie Parker. She began playing saxophone at Gateway High School, after which she continued her musical education at Spelman College. She performed with Ray Charles and in Atlanta's Jazz clubs. She graduated magna cum laude with a BA in Music and went on to complete her MA in Jazz Pedagogy and Performance from the University of Colorado at Boulder. She has regularly performed with several Jazz artists, including Esperanza Spalding, Terri Lyne Carrington, Ralph Peterson Septet, the T.S. Monk Septet, the Jon Faddis Jazz Orchestra, the Rufus Reid Septet, the Sean Jones Quintet, and the Nancy Wilson Jazz Orchestra. She has led a quartet that includes Shamie Royston on piano, Kim Thompson on drums, and Miriam Sullivan on bass, and with whom she has recorded the albums Pillar of Strength (2005, Wambui), Healing Space (2007, Mack Avenue), and Decisive Steps (2010, Mack Avenue). In 2012, she toured with Esperanza Spalding as leader of the Radio Music Society horn section, in which she played saxophone in dialogue with Spalding's scat singing. She was nominated for a Grammy Award for her 2019 album Diamond Cut. She was an artist in residence at the Burlington Discover Jazz Festival. #africanhistory365 #africanexcellence #womenhistorymonth https://www.instagram.com/p/CqTeekTPMXW/?igshid=NGJjMDIxMWI=

[diyeipetea]

Erroll Garner. Symphony Hall Concert (Mack Avenue, 2021) [Grabación de jazz] Por Juan F. Trillo

Erroll Garner. Symphony Hall Concert (Mack Avenue, 2021) [Grabación de jazz] Por Juan F. Trillo

Si alguna vez ha habido un título descriptivo, este es un buen ejemplo: un álbum que reune nueve temas, grabados una fría tarde de domingo, hace bastante más de medio siglo, en el Symphony Hall de Boston, Massachussets. Si bien se trata de pistas que no habían sido dadas a conocer anteriormente, todos los temas resultarán familiares a los aficionados, empezando por “A Foggy Day (In London Town)”,…

[sinceileftyoublog]

Live Picks: 3/8-3/9

Ought; photo by Jenna Ledger

BY JORDAN MAINZER

Here are my picks for what to see tonight and tomorrow night. Stay tuned for the rest of the weekend and next week!

3/8: Marlon Williams, Empty Bottle

On his largest ever headline tour is New Zealand singer-songwriter and guitarist Marlon Williams, fresh off of his excellent second album Make Way For Love. A breakup album wholeheartedly inspired by old crooners even more so than country, the nonetheless upbeat record should make for a live set that highlights Williams’ otherworldly voice and emotionally hefty guitar work.

Auckland indie folk ensemble Tiny Ruins opens.

3/8: Mary Gauthier, Old Town School of Folk Music

When I interviewed Mary Gauthier years ago, sometime right before her 2014 album Trouble and Love, she told me she considered herself a lyricist and storyteller about “the brokenness of the human condition.” While she normally writes from her experiences, she was the listener and the messenger on her latest album Rifles and Rosary Beads, written in collaboration with veterans and families about their stories, as part of the SongwritingWith:Soldiers non-profit. While these songs may make for a dramatic thematic departure from her other material, they still retain her trademark weary and wise spirit.

3/8: Knuckle Puck, Durty Nellie’s

Covering last year’s Riot Fest, I found Knuckle Puck the worst set of the festival, though I did remark that the band’s new, unreleased material had the crowd’s attention as much as their released material. As it turns out, the album versions of the songs are pretty good. Shapeshifter, released about a month later in October, was exemplary of what Knuckle Puck do best--write catchy songs with powerful melodies and hooks, enough to showcase the band’s more-than-capable instrumental prowess while avoiding the try-hard singing that plagues so many of today’s emo bands.

British pop punks Boston Manor, Nashville emo rockers Free Throw, Lansing band Hot Mulligan, and Ohio-via-Urbana indie rockers Jetty Bones open.

3/9: Meat Wave, Thalia Hall

If you’ve read us for the past few years, you know we love the songs and shows ever-ascending local heroes Meat Wave, having covered three different sets of theirs. Their last full-length release was 2017′s The Incessant, but earlier this year, they released two new songs, one-minute stomper “Shame” and creepy slow-burner “Dogs At Night”. Subtle, but still just as pummeling; their set should contain a lot of the latter, and not much of the former. Be thankful for that.

Post-hardcore legends Hot Snakes headline. Canadian punks Duchess Says opens.

3/9: Cécile McLorin Salvant, Symphony Center

She’s one of the finest jazz vocalists around, and last year, she released the album to really prove it. Cécile McLorin Salvant’s Grammy Award-winning Dreams and Daggers includes songs recorded both live and in studio, both sultry originals and standards into which she breathes some much-needed new life. While her live set with a backing band may include only one or two Dreams tracks, anything she plays will be a treat.

Bill Charlap Trio co-headlines, playing from their latest album Uptown, Downtown as well as songs by Leonard Bernstein to celebrate the 100-year anniversary of his birth.

3/9: Ought, Lincoln Hall

When I interviewed them for Frontier Psychiatrist four years ago, Ought told me that to them, the live show was the most important part of being a band. So while we didn’t much care for their new album Room Inside the World, it’s worth seeing how they’ll adapt the songs live. Plus, you have to wonder whether lead singer Tim Darcy will adapt his new, Scott Walker-like singing style to the band’s old songs, as few of them as they’ve been playing. 

Indie rockers Snail Mail and local post-punks Ganser open.