#wdr big band

[djevilninja]

The Makings of You - Curtis Mayfield | Ledisi | WDR Funkhausorchester | WDR Big Band

*wow

[yemme]

Ledisi & Bilal - A Tribute To Curtis Mayfield | WDR BIG BAND

[cbjustmusic]

The WDR Big Band performs together with singer Lizz Wright the song "No More Will We Run" by Toshi Reagon. ______________________ No More Will We Run Songwriter: Toshi Reagon

When winter comes you will remember Days of warm and heat Rolling on us like a need Relentless and catching

When the night falls You will rest easy Knowing there was a hiding place Sweat like honey river rolling inside

We will know where we stand And we will know Where we love And we will be Where we stand and love And No more No more No more No more No morе Will we run

I look at you love and wonder How anyonе could fear our connection I look to love and wonder How I ever felt this satisfaction

But that’s not all there is in this world And every hour I saw my will But that’s not all there is in this world So No more No more No more No more No more Will I run Away From you

[negrolicity]

Ledisi & Bilal - A Tribute To Curtis Mayfield | WDR BIG BAND

[michelristenpattsworld]

The Brecker Brothers & WDR Big Band:

Some Skunk Funk

[worldsfastestbear]

And in a big band arrangement.

[ruhrkanalnews]

WDR-BIG BAND ZU GAST IM LWL-INDUSTRIEMUSEUM HENRICHSHÜTTE

Jazz in der Hütte mit der besten Big-Band aus der Region

Hattingen– Die WDR Big Band spielt am Freitag (12. Mai) um 20 Uhr zu Gast im LWL-Museum Henrichshütte in Hattingen. Auf dem Programm stehen Stücke von Michel Legrand. Jazz in der Hütte Jazz in der Hütte (Pressefoto) Michel Legrand ist dem breiten Publikum namentlich nicht unbedingt bekannt, dafür aber seine Kompositionen: Der Jazzmusiker und Filmkomponist hat die Soundtracks zu über 200 Film-…

[jokeroutsubs]

[ENG sub/translation] Bojan Cvjetićanin on WDR.de COSMO podcast, 8.3.2024

On 8.3.2024, Bojan was a guest on the 'Tvoj Korzo petkom' ('Your Friday promenade') episode of the German broadcaster WDR's COSMO podcast in Bosnian/Croatian/Serbian language. It's hosted by Boris Rabrenović. You can find the original podcast here. Transcript by @moonlvster, translation by a member of Joker Out Subs, proofread by IG GBoleyn123, subtitles by TWT pastellibianchi.

Bojan talked about the current tour, audience response, the band's history, this year's Eurovision songs, as well as the making of Everybody's Waiting and what kind of an effect the song has on him now.

The podcast is audio only; you can find it with subtitles on our YouTube channel here:

or read the full translated transcript under the cut:

Joker Out in Germany - Your Friday promenade

Host: Coming up, we're hanging out with Bojan Cvjetićanin, the singer of the Slovenian rock band Joker Out, who are currently on a big European tour, in which they will have several concerts in Germany this month, in Berlin, Leipzig, Hamburg, Cologne and Munich.

The band is well known to Eurovision fans because they represented Slovenia in Liverpool last year. Since then, they have numerous fans all over the world, sold out concerts, and they also collaborated with the famous Elvis Costello. Singer Bojan Cvjetićanin will tell us more about all this. Hello, Bojan, welcome to our musical promenade walk.

Bojan: Hello, hello. It's my pleasure.

Host: After Finland, Estonia, Latvia, Lithuania and Poland, you will have the first of five concerts in Germany on the 12th of March in Berlin. What are your impressions from the tour so far?

Bojan: Well, I have to say that... this is by far the biggest tour so far for us. So far, it has been really spectacular both emotionally and physically. We are very happy, we are very satisfied, the audience is wonderful, we play well, we feel good on stage, we're full of energy, and we also can't wait to put that into a musical form when we go to the studio.

Host: You sing in Slovenian, English, Serbo-Croatian. How does the audience manage the lyrics in all these languages?

Bojan: Well, I have to admit that so far, we've already done a good number of concerts abroad, and most of our audience is actually from the countries in which we play. So it's not like I could say that much of our audience comes from the Balkan diaspora or from Slovenia. Of course, we would like to see as many people from our diaspora as possible, but it's strange, it's strange to see people singing in Slovenian and Serbian, who otherwise don't even know a word of those languages, so we're not used to that yet.

Host: Last year, you represented Slovenia at Eurovision in Liverpool with the song Carpe Diem. Could you have predicted everything that would happen after that?

Bojan: Honestly, I have to say that what is happening now was our ultimate wish, a goal we believed in, but whenever you believe in a dream, there is a 99.9 percent chance that it won't happen. But truly, what is happening now is like, the best possible result for us.

Host: And tell us a little about the time before Eurovision, how long has the band existed and did you perform in countries in the region¹ even before Eurovision?

Bojan: The band has existed since 2016 and we mostly played in Slovenia. We had a concert or two in the region and both concerts were for a Slovenian audience on, like, those student trips and so on, so we only encountered audiences from the region after Eurovision.

Host: And did you manage to listen to this year's representatives at Eurovision? Do you have any favourites?

Bojan: For this year, I told myself that I would like to hear the songs for the first time when I watch Eurovision, that is, in the first semi-final. Of course there was no way I could avoid listening to some of the songs, since my social media has been flooded with Eurovision content since last year, so I have heard some things. I heard the Serbian song, I heard the Croatian song. Of course, the Slovenian song, which I worked on. I have to say that I really like all three songs, Serbian, Slovenian and Croatian, this year. They're interesting, they're different, so it's going to be an interesting year.

Host: Last year, you released the English version of the song 'Novi val' with the famous British musician Elvis Costello, so tell us briefly how that collaboration came about.

Bojan: Well, that collaboration is... a pretty surreal moment in our life. Completely by coincidence, our former bassist's godfather is good friends with Elvis, and he gave Elvis our first album to listen to and he really liked it. Later, when we released the second album, Elvis listened to it on his own accord, and he liked the song 'Novi val' so much that he offered to write the English version of the lyrics. After two weeks, when we confirmed it, after two weeks, we received an email saying that if we wanted, we could do a collaboration, which of course we said yes to.

Host: What a beautiful story. Coming up, we will hear your new single 'Everybody's Waiting', which was released a few days ago. Tell us a few words about this song, which some rate as your best song so far.

Bojan: Well... 'Everybody's Waiting' is like, I would say, an experiment by our band, a song which, as far as the lyrics go, is actually the result of certain anxiety attacks and panic that I started experiencing at concerts after an unpleasant experience on stage. So it has all been very very stressful for me, honestly, and for these last couple of months, the stage has no longer been the safest place that it used to be for me, so I had to get those feelings out somehow, and I poured them into the song. The guys from the band felt it too, and the producer also felt it, so it showed in the actual arrangement of the song as well, that it's not just a song, but rather we all understood it as a story.

So absolutely, I would also say that as a song, it is the most varied, the most interesting so far, it has a special sound, a little different from what we have done so far. The song is in English, I think it was actually the first time that an English song worked out for me that way, that it sounds good and sounds original, and that it truly poured out of me. So there you go, I'm very proud of this song, and these concerts showed that people love it a lot, they sing it, so yeah.

Host: How much has it helped you in solving the problem with anxiety?

Bojan: Well, I would say that it absolutely helps in some way. On this tour, I also had a moment of panic, anxiety on stage, and it actually ended somewhere in the middle of the song 'Everybody's Waiting', so maybe it kind of works to calm me down, so it has an effect.

Host: Then perhaps it should be the first on the setlists.

Bojan: Yes, the first, second, third, fourth, fifth, and last.

Host: Bojan, thank you very much for being our guest. I wish you a lot of success in your future work, and a successful tour. And see you in Cologne on the 24th of March.

Bojan: Thank you, see you in Cologne.

Host: That was Bojan Cvjetićanin, the singer of the Slovenian rock band Joker Out, who are currently on a big European tour, during which they will have five concerts in Germany, on the 12th of March in Berlin, on the 13th in Leipzig, on the 19th in Hamburg, on the 24th in Cologne, and on the 16th of March in Munich. By the way, on the cosmoradio.de website, you can find our concert calendar for 2024 in Germany, with neatly arranged dates of all the performances by musicians from the countries in the (Balkan) region in Germany.

¹By "countries in the region" the host is referring to the former Yugoslavian countries.

[jpbjazz]

LÉGENDES DU JAZZ

PETER ERSKINE, UN BATTEUR POLYVALENT

Né le 5 juin 1954 à Somers Point, au New Jersey, Peter Erskine a commencé à jouer de la batterie à l’âge de quatre ans. Après avoir fréquenté l’Interlochen Arts Academy au Michigan, Erskine avait étudié les percussions à l’Université d’Indiana sous la direction de George Gaber.

DÉBUTS DE CARRIÈRE

Erskine a amorcé sa carrière professionnelle en 1972 comme membre de l’orchestre de Stan Kenton. Quatre ans plus tard, Erskine s’était joint au groupe de Maynard Ferguson. Après être entré dans le groupe Weather Report en 1978, il s’était installé à Los Angeles. Erskine avait enregistré cinq albums avec le groupe, dont 8.30, qui lui avait mérité son premier prix Grammy. Le partenariat d’Erskine avec la révélation de la basse électrique Jaco Pastorius avait d’ailleurs été un élément essentiel du succès du groupe. Erskine avait aussi travaillé plus tard avec le groupe Word of Mouth de Pastorius. 

Durant son séjour à Los Angeles, Erskine avait également collaboré avec Freddie Hubbard, Joe Henderson, Chick Corea, Bobby Hutcherson, Joe Farrell et George Cables. Erskine s’était installé par la suite à New York où il avait travaillé durant cinq ans avec le groupe Steps Ahead composé de Michael Brecker, Mike Mainieri, Eddie Gomez et Eliane Elias. Il avait aussi collaboré avec John Scofield, Bill Frisell et Marc Johnson dans le cadre du groupe Bass Desires, le  John Abercrombie Trio et le Bob Mintzer’s Big Band.

Même s’il vivait à Los Angeles depuis 1987, Erskine avait énormément voyagé autour du monde, et avait travaillé avec de nombreux artistes dont Diana Krall, Joni Mitchell, Vince Mendoza, Steely Dan, Jan Garbarek, Kenny Wheeler, Palle Danielsson, John Taylor, Alan Pasqua, Bob Sheppard, Bob Mintzer, Kate Bush, Nguyen Lê, Rita Marcotulli, le Norrbotten Big Band en Suède et Sadao Watanabe au Japon.

ÉVOLUTION RÉCENTE

En 1992, Erskine avait fait une tournée aux États-Unis avec le pianiste Chick Corea.

Erskine avait remporté son second prix Grammy en 2003 comme batteur du WDR big band de Cologne dans le cadre de l’album “Some Skunk Funk qui mettait aussi en vedette les frères Michael Brecker et Randy Brecker, Vince Mendoza et plusieurs autres . Parallèlement, Erskine avait travaillé avec de nombreux autres musiciens dont Seth MacFarlane, Patrick Williams, ainsi qu’avec John Beasley, Bob Sheppard et Benjamin Shepherd du Dr. Um Band, tant en tournée que comme musicien de studio. En 2005, Erskine avait collaboré avec Kate Bush sans le cadre de l’album Aerial, qui mettait également en vedette le bassiste Eberhard Weber. Il avait également travaillé comme musicien invité avec Diana Krall, Eliane Elias, Queen Latifah et Linda Ronstadt ainsi qu’avec divers orchestres symphoniques.

Également compositeur, Erksine avait aussi travaillé sur plusieurs musiques de film dont “Memoirs of a Geisha” (2005), les trois films de la série Austin Powers, les nouveaux films de la série ‘’The Pink Panther’’, ainsi que sur “The Adventures of Tintin’’ (2011) de Steven Spielberg. Erskine avait également joué sur la bande sonore des films “La La Land” (2016), “Let Them All Talk” (2019) de Steven Soderberg, “Mank” (2020) de David Fincher et “Babylon” (2022) de Damien Chazelle. Il avait aussi travaillé sur la bande sonore de la série télévisée “The Orville” diffusée sur le réseau Fox de 2017 à 2019. Erskine avait également composé de la musique pour le théâtre, notamment sur les pièces Richard II  et A Midsummer Night’s Dream (Le songe d’une nuit d’été) de Shakespeare, qui avait remporté le prix de la meilleure bande sonore originale décerné par le Los Angeles Drama Critics Circle. La bande sonore qu’Erskine avait composée pour la pièce Twelfth Night de l’American Conservatory Theatre aussi remporté le prix de la Bay Area Drama Critics’ Circle dans la catégorie de la meilleure bande sonore dramatique. Erskine avait également écrit la bande sonore de la pièce Romeo & Juliet de Hamlet, du ballet “History of the Drum”  (qu’il avait écrit pour la Kokuma Dance Company de Birmingham, en Angleterre), ainsi que pour les pièces Side Man” et de Defiance Pasadena Playhouse. Erskine avait également écrit des trames sonores pour des films d’animation comme Gun Smith Cats et des livres audio de la série “Alien Voices” mettant en vedette Leonard Nimoy et John deLancie de la télésérie Star Trek.

Erskine avait aussi agi comme producteur sur les albums de jazz de sa propre compagnie de disques Fuzzy Music, pour lesquels il avait obtenu quatre nominations au gala des prix Grammy. Erskine est également l’auteur de plusieurs manuels didactiques dont “Drumset Essentials, Vols. 1, 2 & 3 ” (un manuel d’instruction pour batterie), “Erskine Method” (qui comprend aussi un DVD), “Essential Drum Fills”, “Time Awareness for All Musicians”, “Drum Concepts & Techniques” et “The Drum Perspective”. Erskine est aussi l’auteur de “No Beethoven’’ (une autobiographie et une chronique de la carrière du groupe Weather Report). Son plus récent livre intitulé “The Musician’s Lifeline’’ a été co-écrit avec Dave Black.

Aussi enseignant, Erskine est professeur de pratique et directeur des études de batterie à la Thornton School of Music de l’University of Southern California. Il anime également des cliniques et des séminaires à travers le monde. Erskine est aussi consultant en batterie à la Royal Academy of Music de Londres.

Loin de se limiter au jazz, Erskine avait fait de nombreuses apparitions comme soliste avec plusieurs orchestres symphoniques dont ceux de Londres, Los Angeles et Chicago, ainsi qu’avec l’orchestre de la radio de Francfort, la Scottish Chamber, l’Ensemble Intercontemporain, la Royal Opera House, la BBC Symphony et les orchestres philharmoniques d’Oslo et de Berlin. Aux côtés de la compositrice et percusionniste Evelyn Glennie, Erskine avait également participé en juillet 2000 à la première du concerto de double percussion ‘’Fractured Lines’’ composé par Mark-Anthony Turnage. C’est Sir Andrew Davis qui dirigeait la BBC Symphony Orchestra.  L’oeuvre avait été enregitrée plus tard par les disques Chandos. Erskine collabore aussi régulièrement avec le chef d’orchestre Simon Rattle. Erskine a également participé à la première de l’opéra Anna Nicole de Turnage, qui avait été présenté à la Royal Opera House de Londres en 2011. Turnage a d’ailleurs composé un concerto solo en l’honneur du batteur simplement intitulé Erskine, qui avait été présenté en première mondiale à Bonn, en Allemagne, en 2013. La première américaine de l’oeuvre a eu lieu en septembre 2014 au Hollywood Bowl sous la direction du L.A. Philharmonic.

Nommé compositeur en résidence pour le célèbre ensemble choral Hilliard Ensemble en Allemagne en 2000, Erskine a également reçu une commande de la BBC pour écrire une suite intitulée “Music for Brass and Percussion.” Parmi les autres commandes qu’on avait confiées à Erskine, on remarquait une oeuvre à l’intention du Los Angeles Guitar Quartet et du joueur de marimba Colin Currie, ainsi qu’une oeuvre de percussion écrite à la mémoire de co-fondateur de Nexus, John Wyre, intitulée “A Bird Sings”.

Reconnu pour sa polyvalence et son habileté à se produire dans différents contextes, Erskine avait participé à plus de sept cents albums et musiques de film, dont cinquante sous son propre nom ou comme co-leader. Parmi les groupes qu’il avait dirigés, on remarquait son trio avec John Taylor, Palle Danielsson et Rita Marcotulli. Erskine dirige actuellement un trio avec le guitariste Nguyen Le et le bassiste Michel Benita, le Trio E_L_B. Il a aussi joué en trio avec le pianiste Alan Pasqua. Parmi les albums d’Erskine comme leader, on remarque notamment ‘’Peter Erskine”, “Transition”, “Motion Poet”, “Sweet Soul”, “Big Theatre”,  “You Never Know,” “Time Being”, “As It Is”, “Juni”, ‘’History of the DRUM”, “Behind Closed Doors” et “Side Man Blue”. Comme co-leader, Erskine a publié “Prism” (avec Bill Dobbins et le WDR Big Band), “Cologne” (avec Bill Dobbins et John Goldsby) et “Dream Flight” (avec Nguyen Le et Michel Benita). Le plus récent album d’Erskine sur étiquette Fuzzy Music met en vedette un trio composé du contrebassiste Chuck Berghofer et du pianiste Terry Trotter. Les autres collaborations d’Erskine incluent son travail avec The Lounge Art Ensemble (avec Bob Sheppard au saxophone). Le plus récent CD du groupe est intitulé “Music for Moderns.’’ Le double CD “Peter Erskine & Alan Pasqua with David Carpenter – Live at Rocco” avait été particulièrement salué par la critique. Le CD d’Erskine intitulé “Worth The Wait” mettant en vedette le trompettiste Tim Hagans et le Norrbotten Big Band, avait également obtenu des commentaires élogieux des crutiques. Le CD suivant d’Erskine intitulé The Avatar Sessions, également été enregistré avec Hagans et le Norrbotten Big Band, comprenait comme solistes invités Randy Brecker, Dave Liebman, George Garzone et Rufus Reid.

Erskine a remporté deux prix Grammy. La Berklee School of Music lui a décerné un doctorat honorifique en 1992. Erskine a été intronisé au sein du temple de la renommée de la Percussive Arts Society en novembre 2022. Erskine a également été élu batteur de jazz de l’année par les lecteurs du magazine Modern Drummer à dix reprises.

Au cours de sa carrière, Erskine avait travaillé avec les plus grands noms du jazz et de la musique populaire, dont les big bands de Stan Kenton et Maynard Ferguson, les groupes Weather Report, Steps Ahead, le The Yellowjackets et Steely Dan, Joni Mitchell, Vince Mendoza, Diana Krall, Queen Latifah, Kenny Wheeler, Mary Chapin Carpenter, Linda Ronstadt, The Brecker Brothers, Kurt Elling, Sadao Watanabe, Eliane Elias, Alan Pasqua, Bob Sheppard, Bob Mintzer, Mike Stern, Kate Bush, Miroslav Vitous, Jan Garbarek, Chick Corea, Joe Henderson, Freddie Hubbard, Pat Metheny, Gary Burton, Bob Mintzer, John Abercrombie et John Scofield.

Peter Erskine a épousé Mutsuko Erskine. Le couple a eu deux enfants, l’actrice et autrice Maya Erskine et le réalisateur et producteur de films Taichi Erskine.

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Biography of Peter Erskine.’’ Percussive Arts Society, 2023.

‘’Peter Erskine.’’ Wikipedia, 2023.

‘’Peter Erskine.’’ Petererskine.com, 2023.

‘’Peter Erskine.’’ All About Jazz, 2023.

[rich4a1]

The Dave Stryker Trio w/Bob Mintzer Groove Street

The Dave Stryker Trio w/ Bob Mintzer Groove Street Strikezone At this point you surely know what you’re getting with the soul-jazz of Dave Stryker’s Trio with the leader on guitar, the redoubtable Jared Gold on organ and groove maestro McClenty Hunter on drums. Yet, this session, Groove Street, adds the legendary tenor saxophonist of Yellowjackets fame and current director of the WDR Big Band,…

[dudewhoabides]

Anat, Avishai & Yuval Cohen - Lost And Found | WDR BIG BAND

[theloniousbach]

LIVESTREAM: ALAN BROADBENT with Scott Wendholt, Sam Dillon, Eric Miller, Harvie S, and Lucas Ebeling, SMALLS JAZZ CLUB, 22 DECEMBER 2024, 6 pm set

ALAN BROADBENT weaves chorus after chorus full of melodic and harmonic invention from the piano bench in his elegant trio with Harvie S and Billy Mintz. I rarely miss their monthly set at Mezzrow’s as a familiar epitome of that fundamental ensemble. I must remember that he was in Charlie Haden’s Quartet West and made two brilliant albums with singer Irene Kral, living inside those songs with her. He has even recently arranged for Germany’s WDR Big Band. This gig is a reflection of that side of his music and a rare chance to hear him play with horns.

A sextet has a depth that seems more than just adding the trombone to go with the sax and trumpet. So Eric Miller’s playing stood out even beyond the welcome addition to the charts; his solos were mellow and grounded. Sam Dillon on tenor was the most forceful soloist and I warmed to him. But he wandered on the opener going on for at least a chorus too long. He settled in but he threw things out of balance. Scott Wendholt’s trumpet was consistent, tasty and solid.

But it was of course Broadbent’s gig—his tunes with This One’s For Bud and Woody’n’Me familiar from the trio gigs. I couldn’t place the one tune whose title I didn’t get but it too may be part of the current book. It certainly was a keeper as the piano solo was a response to the horns and Harvie S bowed as Broadbent wrapped things up. His solos were incisive and a cut above his band’s. I was glad that Woody’n’Me was for trio as that meant more Broadbent, but, by only taking his fair share of choruses on the other tunes, there was a crispness and economy to his solos beyond the regular gigs. I have heard other pianists in larger bands and wished to hear them in trios, so if this had been my first exposure to Broadbent I would definitely want to hear more.

Harvie S was a rock and his couple of solos were the good old familiar. But, he too had to pick his spots—or rather had his spots picked for him. In the trio he has space on every tune. Young Lucas Ebeling was a treasure behind the kit, driving the big ensemble with taste and maturity befitting Broadbent’s vision. He had limited space, a solo on the closer and trading twos, not fours, on the Bud Powell homage, but he made an obvious difference through out the night.

[paoloadolforinoramadori-longo]

BOB MINTZER & WDR BIG BAND - Bring In The Funk Again | Concerto

[lboogie1906]

Robin Eubanks (October 25, 1955) is a jazz and jazz fusion slide trombonist, the brother of guitarist Kevin Eubanks and trumpeter Duane Eubanks. His uncles are jazz pianist Ray Bryant and bassist Tommy Bryant. His mother, Vera Eubanks, was famed pianist Kenny Barron’s first piano teacher.

He was born in Philadelphia. After graduating cum laude from the University of the Arts, he moved to New York City where he first appeared on the jazz scene in the early 1980s. He played with Slide Hampton, Sun Ra, and Stevie Wonder. He was the musical director with the jazz drummer Art Blakey and the Jazz Messengers. He also was a member of jazz drummer Elvin Jones’s Jazz Machine. He was a contributor on fellow jazz trombonist Steve Turre’s 2003 release One4J: Paying Homage to J.J. Johnson. He has released several albums as a bandleader.

He played for 15 years in double bassist Dave Holland’s quintet, sextet, octet, and big band. J.J. Johnson recommended him for the position at the Oberlin Conservatory, where he taught for 20 years as a tenured professor of Jazz Trombone and Jazz Composition. He taught at the New England Conservatory and Berklee College of Music in Boston. He was a member of the all-star group the SFJAZZ Collective for 10 years 2008-2019. His notable students include trombonist Andy Hunter of the WDR Big Band.

He is one of the pioneers of M-Base. He has appeared on numerous television shows and specials, including The Tonight Show, Saturday Night Live, and The Grammys. he also pioneered the use of electronic effects with the trombone.

He is a frequent lecturer, guest soloist, and clinician at various colleges and universities in the US and around the world.

He was voted #1 Trombonist by Down Beat magazine and Jazz Times. #africanhistory365 #africanexcellence

[negrolicity]

Watch "Marquis Hill feat. by WDR BIG BAND - Twin Flame " on YouTube