Ahmad Jamal ｰ I Get a Kick Out of You
Ahmad Jamal ｰ I Get a Kick Out of You
<3, couldn’t help myself. I was born in the wrong era lol
Jamming #queen with Frankie B😎#dontstopmenow #freddiemercury #brianmay #johndeacon #rogertaylor #jazz #acousticjam #daddydaughterjam #trainthemyoung #acousticcover @officialqueenmusic @freddiemercury @brianmayforreal (at Melbourne, Victoria, Australia)
『SPOLOGUM』BEFORE CHRISTMAS FAIR-The POP UP STORE @ 静岡店
□**BOOK STORE BIG TRAINER
(**POP UP STOREのみの限定販売アイテムです）
□『SPOLOGUM』POP UP STORE@静岡店
Billie Holiday : Fine and mellow (1957)
Billie Holiday singing with Ben Webster – tenor saxophone, Lester Young – tenor saxophone, Vic Dickenson – trombone, Gerry Mulligan – baritone saxophone, Coleman Hawkins – tenor saxophone, Roy Eldridge – trumpet, Doc Cheatham – trumpet, Danny Barker – guitar, Milt Hinton – double bass, Mal Waldron – piano and Osie Johnson - drums
“Love is just like a faucet
It turns off and on
Love is just like a faucet
It turns off and on”
Nat King Cole - For All We Know (1949)
“Mo Soul” Player Playlist 11 December
1. Kool & The Gang - Dujii
2. Donald Byrd - You & Music
3. Katia B - Parece Mentira (Mo'Horizons Restyle)
4. Herbie Hancock - Death Wish
5. Birds And Brass - Sort Of Soul
6. The Dining Rooms - Existentialism (Milano Bossa Remix)
7. Al Green - Waiting On You (Disco Tech Edit)
8. Karl Frierson - Ten Minutes
9. Soul Sugar - Play It Back
10. The Sound Stylistics - Say It Aint So
11. The Sunburst Band - Caught In The Moment
12. Erykah Badu - Love Of My Life Worldwide
13. EDC - Samba In Solitude
14. Bluey - Got to Let My Feelings Show
15. Future Loop Foundation - Whats Your Name
If you really want to enjoy music and help musicians and bands, buy their lp’s or cd’s and don’t download mp3 formats. There is nothing like good quality sound!!!
(Angel Lo Verde / Mo Soul)
I rarely post my own music here on lofimunk..but would love the communities feedback on this new vaporwavish beat I put together. follow my artist page here @dean_lofi !~~~~~~~~~~~~~~~~~~~
Thank you all for supporting lofimunk music in 2019! 2020 is going to be even more exciting! ~~~~~~~~~~~~~~~~~~~~~#lofi #hiphop #jazz #lofihiphop #sp404 #soundcloud #soundcloudmusic #producer #chill #boombap #anime #japan #nujabes #jdilla #lofiislife #brooklyn #newyork #manhattan #stoner #nostalgic #chillhop #animevibes #vaporwave #atribecalledquest #delasoul #lofitrap
I am in the middle of my fourth year of attending shows at Jazz at the Bistro and it is a great joy to have this formative music back so centrally in my life, to make this my go to music, to think about music in jazz terms. From that first Johnny Winter blues jam, I’ve always been drawn to virtuosic playing. Certainly rock and ur-jam band guitarists were a start. But I saw Norman Blake flat pick amazingly in those early years and later Celtic fiddlers and box players amazed me. Chamber music but also Irish sessions have an intimate conversational aspect. But it’s jazz that has it all. I sensed that in the early 70s and it’s where I’ve come home to now.
I kept my eye on jazz before the Bistro, particularly through Webster University’s wonderful jazz faculty and their performances. I would return to tried and true recordings, starting with Miles, Monk, and Mingus and Bill Evans at the Village Vanguard. I knew I couldn’t miss Sonny Rollins when he played UMSL’s performing arts center in 2009 and had even better tickets for a return a few years later that he had to cancel. He was vital, transforming from a tentative, slightly stooped old man into a flurry of ideas dancing lightly around the stage delighted in the choruses he unfolded for himself and others. He had a guitarist (not a pianist), a trombone, drums and percussion, and Bob Crenshaw. Standards and Ellington. But it was a bit of a one off.
It has taken season packages at Jazz St. Louis for four years now to get the engagement and focus that I now have.It’s fitting that the first one was Bill Charlap and his trio. That configuration is where I’m glad to start, going back to Oscar Peterson when I was 8. I’m almost too vociferously anti-musical theater, except jazz musicians have done wonderful things with and burnished the Great American Song Book. Charlap is one of our key curators. But these aren’t museum pieces in his hands; they are a dynamic legacy kept alive by use. There’s taste, drive, invention in tradition. Just like that Johnny Winter concert in early fall of 1969, there was something I had to have more of.Next up was Vijay Iyer, also in a trio. A different aesthetic but he worked a jam into Epistrophy, so tradition prevails. And the piano trio’s elasticity continued to win me over. The Bad Plus begins the year in St. Louis and we were where the rebooted when Orrin Evans replaced Ethan Iverson. I saw them once with Iverson, couch toured that opening run of BP2.0, saw them last year and plan to see them next in January. I started to get them seeing them live, seeing how the compositions work and how they work them. I think they’re a little warmer and organic with Evans, just as smart and clever but grounded. I’ve seen Benny Green swing hard and Cyrus Chestnutt do so as well but then throw in a good chunk of French Impressionism. Emmet Cohen’s band was the foundation for an odd mix of horn players I wanted to see: Marquis Hill and, for a second time, Melissa Aldana. The five of them didn’t quite jell, but the Cohen trio is a working band I would see again. Kenny Barron was a monument of taste and command and Chick Corea was impish, a grand old man of the music in spite of himself. There were standards but also a glorious exposition on Paco de Luca’s Zyriab, pulling together the Arabic roots of Flamenco. So, piano trios always with the Bad Plus, Christian Sands at the Sheldon Concert Hall down the street (where I saw Eliane Elias with Marc Johnson do wonderful Brazilian stuff but also some superb jazz evoking Bill Evans), and Connie Han ahead.
Now, we’re Miles Davis’s hometown and folks know that. The SF Jazz Collective came to the Bistro in 2017 with a program of his music (wide ranging—Tutu and Bitches Brew as well as Nardis for an acoustic ensemble) as well as compositions from band members in the ensemble. It’s a grand concept—a four horn front line with vibes and rhythm section, with some general stability but it’s morphed over the years. Everyone composes and arranges and they celebrate a composer each season. Our band was Sean Jones, David Sanchez, Miguel Zenon, Robin Eubanks, Warren Wolf, Edward Simon, Matt Penniman, and Obed Calvaire. They return to the Sheldon this year for an In a Silent Way tribute with mostly the same folks—so anther chance to see Sanchez and Zenon who were particularly impressive. Russell Gunn evoked Miles’s Blackhawk set with Jimmy Cobb holding down the drum chair very capably at age 90.
After piano tours and Milesiana, there are tenors. So I couch toured a conversation and partial set with Benny Golson—not quite in the room with a legend but a vivid experience. I am intrigued and enthralled at the playing of Melissa Aldana who crafts vivid lines that fill space quite fully (she has some great trio work) with ideas rather than tone. Her own quartet had over active drumming from Tommy Crane whereas the Emmet Cohen show pulled her in multiple directions (blusier, mostly) than she quite fit. She is a star in Artemis, but shares the front line with Anat Cohen and Ingrid Jensen, but she is one star among many. So I haven’t quite heard the ideal Aldana show. But I am glad to keep trying.
I’ve been able to see Joshua Redmond twice. As great as his tenor invention is, his band (with Aaron Goldberg) was what impressed me most. The way longstanding bands like this (and Branford Marsalis’s with Joey Caldazzaro) think together is very special. Marsalis and Caldazzaro would magically complete one another’s thoughts and both tenors took great delight in what their bands could do, soloing all the better because of it. In these bands, but most of them, including the trios, I an struck with just how good drummers have become, really playing music beyond rhythm. Allison Miller has a Jazz Night in America video on “melodic drumming,” so it was a treat to see her with Artemis, listening so hard but happily to inflect the music so well. She was almost the one to keep one’s eyes on, except that Anat Cohen exudes such unbridled joy at all times. Her quartet show was a real highlight of 2018-2019. I am so glad she and Ben Goldberg are making the clarinet a modern jazz instrument.
Joe Lovano came through with the brilliant and adventurous John Scofield who plays with Phil Lesh and Warren Haynes. I find myself shying away from jazz guitar preferring the piano. But that was quite a show as was Scofield again with Jack DeJohnette’s Hudson project which jammed out originals and The Band/Hendrix/Joni Mitchell very well. DeJohnette has quite a palette of drums and especially cymbals. We were 4 rows back on his side so we had a literally ringside seat for that magic at the Sheldon.
I have made a point to hear the likes of Marquis Hill, Robert Glasper, Stefon Harris, and, most recently, Terence Blanchard to hear how hip hop is being incorporated into jazz as funk was in my youth and rhythm and blues was in the ‘50s. My younger generation didn’t bring that music home, so I don’t have that sensibility. But I would be an old fart in extremis if I didn’t welcome those influences. That said, I am more intrigued with how SFJAZZ takes the essence of electric Miles into acoustic music than vocoders and loops and reverb. But, every time these newer shows have lots to delight in, including drummers who move the beat around and are not confined by any strictures.
The music is supposed to grow. And I get to watch it.
This entry is the last one of this 10 part series this Fall celebrating the 50th Anniversary of concert going, marked by my second one from 11/4/69 with Led Zeppelin. Yes, this is part 9, but, rather like the Beatles releasing Abbey Road before Let It Be (actually, not like those monuments at all), I have already posted a part 10 about the shows I didn’t see. But, wrapping up with jazz makes a certain amount of sense.
the haunting recordings from #BILLIEHOLIDAY’S #JAZZATTHEPHILHARMONIC … #STRANGEFRUIT 🍋
Tania Mallet with Georgie Fame and the Blue Flames  Photo by John French
Spice Girls - New Focus Dance Academy
1st Place Nubie Duet/Trio
Nuvo Pittsburgh 2020
Music: Wannabe - Spice Girls
When Spitz got poofed, Jazz freaked out. She’d never had any experience with gems losing their forms, so she was understandably worried. Spinel didn’t really understand why Jazz was so upset, but it was the first time she realized that Jazz really did care and didn’t just hang around out of pity.