Lionel Loueke : A la Balance Au Festival Jazz & Wine 2012 Herbie Hancock Quartet ©filipekfotoshoot

Merci, Merci, Merci à Lionel Loueke de m'avoir accordé quelques moments inoubliables..." La Vie en Rose " Version Solo Sauce Lionel Loueke "cela m'a bien fait quelque chose"! Grandiose ! Guitariste, Vocaliste, avec un Coeur grand ouvert. Une musique à la fois métissée riche et colorée; sans cesse renouvelée. Quant à son Son, il est reconnaissable entre mille... à savoir Unique. Chapeau bas l'Artiste !

en attendant Herbie Hancock ...The Star... Merci aussi à James Genus avec qui on a bien parlé Bass & Bassist; un bassiste qui peut être aussi puissant avec un Son bien lourd et dynamique que précis dans ses envolées lyriques dans le genre Guitar Bass 5 cordes avec un jeu rappelant quelque peu celui du bassiste John Pattitucci. Merci à Trevor Lawrence Jr Batteur à la présence incontestable, au jeu fort & percutant; bref du lourd et du costaud qu'a su alléger à souhait et à merveille Lionel Loueke par un style et un Son au final plus fin; taillé comme du cristal ... Un diamant.

Jazz & Wine Pdf Document Link

KCRW Presents Esperanza Spalding

Spalding treated the Morning Becomes Eclectic crew to a full-band in-studio performance during a recent visit to Santa Monica. Watch Spalding and company perform "Smile Like That" from Radio Music Society. The entire performance is available on KCRW.com.

Grammy-winning singer and bass player Esperanza Spalding recently led her band, including a large horn section, through a set of jazzy jams in the KCRW studios. Watching her play funky bass lines while singing with incredible range and soul was truly a sight to behold, especially in "Smile Like That.

You can watch the entire performance Here

Esperanza Spalding Tryptique by David Trucotte

Marcus Miller Photography By Mathieu Zazzo Album "Renaissance"

Mathieu Zazzo Photographer

Listen Album " Renaissance " by Marcus Miller

Bassist Ron Carter on Piano Jazz with Maria McPartland

Ron Carter first appeared on the national scene as a member of Miles Davis' second great quintet, which coalesced around the recording of Davis' album Seven Steps to Heaven. 

Carter has also worked with an unbelievable range of giants from inside and outside the world of jazz: from Coleman Hawkins, Chet Baker and Eric Dolphy to Aretha Franklin, Antonio Carlos Jobim and A Tribe Called Quest.

The session gets underway with a duet on "Blues in the Closet," written by bassist Oscar Pettiford. Carter holds down a steady bass line while Marian McPartland swings brightly through a solo; she then comps his bouncing solo with stabbing chords.

"His tunes are fun to play," McPartland says of Pettiford. "They've got a sort of cheerful vibe."

"It's a bass player writing for the instrument," Carter replies. "And anyone can play the tune and have a comfortable experience."

Carter and McPartland continue with a duet on "Stardust." Carter, who started out on cello in the Detroit public schools, brings a unique touch by leading the tune on bass as McPartland accompanies on the piano.

"It didn't sound rushed, and yet you played the whole verse and the whole chorus," McPartland says. "It sounded very romantic.

 

The session continues with a duet on another Oscar Pettiford tune, "Bohemia After Dark." McPartland follows with her solo rendition of Hoagy Carmichael's "New Orleans," which naturally leads in to another duet on the seminal New Orleans tune "Basin Street Blues."
"People put that tune in a certain category," McPartland says. "But it's nice the way you did that — you led me into doing things."
"One of the fun things about being a bass player is you can make those kinds of things happen," Carter says.
Next, McPartland plays another Piano Jazz signature — her solo musical portrait of the program's guest. The portrait she plays for Carter is both lyrical and playful, and evokes the understated beauty of the bass part in jazz.
"When one hears a musical portrait of oneself played so clearly and wonderfully as that you just played — it's a really humbling sound," Carter says. "Thank you very much."
They close with a duet on Miles Davis' iconic "So What," playing at a tempo somewhere between the steady original from the Kind of Blue sessions for Columbia and the breakneck pace of Davis' early-'60s quintet. 


McPartland sums up the tune and this session: "I bet Miles liked it."
Originally recorded June 20, 2006. Originally broadcast in 2007.

Set List

"Blues in the Closet" (Pettiford)

 "Stardust" (Carmichael, Parish)

"Bohemia After Dark" (Pettiford) 

 "New Orleans" (Carmichael) 

"Basin Street Blues" (Spenser) 

"Portrait of Ron Carter" (McPartland) 

"So What" (Davis)

Keith Jarrett by Henry Leutwyler & Bonus Tracks with Charlie Haden

Henry Leutwyler Photographer says:

"Keith Jarrett played a half hour private concert I photographed him in Pennsylvania 2010 I love my job."

After three decades without a collaboration, jazz legends Keith Jarrett and Charlie Haden have teamed up for a new album called Jasmine. The piano-and-bass duo recorded Jasmine in Jarrett's studio in his New Jersey home — no bells, no whistles, just crystal-clear sound.

Haden and Jarrett seamlessly trade melodies back and forth in a sort of musical conversation, but Jarrett says it's much deeper than that.

"We're trying to find the dynamic — not exactly blend, but add the right color at the right moment based on what the other player is playing," he says.

On Jasmine, Jarrett plays an old, beat-up Steinway. He says that even though he has another piano to play, he always sits down at his practice instrument.

"I have a connection with it," he says. "It has its problems as far as evenness across the keyboard. It has some strange noises and inequities, but it's close to me."

During their recording sessions, Haden says, he heard the subtleties of the music in a way he'd never heard them before — the piano mallets striking the strings, and even his fingertips brushing upon his bass' strings.

"It's just incredible, the sounds that come out of the music, that are involved in the music," Haden says. "And it just shows you that it's really not about music. It's about the universe we're living in." Both Jarrett and Haden approach music similarly, with the same musical values, and that's why they say recording this album felt so natural. They channeled the standards in Jasmine, but also put a high premi
um on improvisation. "That's the thing about musicians," Haden says. "The priority is to create something new that's never been before. And you put your life on the line every time that you play."

Charlie Haden Site Link

Angel & Meshell Ndegeocello Weather Album / Xi Shi Zhu Ni DiapoShoot First Season

Charlie Goss Photography

Meshell Ndegeocello

New album Weather

 

Extrait " Chelsea Hotel "

Photography by Sheryl Nields

" Crazy and Wild "

Charles Mingus was a Powerful Bass Player Part I & Part II Biography & History of Jazz

Charles Mingus 1976- Bi Centenial, Lower Tom Marcello Photography Manhattan July 4, 1976

Charles Mingus: 'Fables of Bass,' Part 1

Photography by Hans Kumpf

Charles Mingus: 'Fables of Bass,' Part 2

Vertigineux!


In His Own Words – From "Beneath the Underdog"

 
"In other words I am three. One man stands forever in the middle, unconcerned, unmoved, watching, waiting to be allowed to express what he sees to the other two.
The second man is like a frightened animal that attacks for fear of being attacked.
Then there's an over-loving gentle person who lets people into the uttermost sacred temple of his being and he'll take insults and be trusting and sign contracts without reading them and get talked down to working cheap or for nothing, and when he realizes what's been done to him he feels like killing and destroying everything around him including himself for being so stupid. But he can't - he goes back inside himself.
Which one is real?
They're all real."


Mingus Charles Link "In His Own Words"


WHAT IS A JAZZ COMPOSER

OPEN LETTER TO MILES DAVIS

CHARLES MINGUS CAT TOILET TRAINING PROGRAM

BLINDFOLD TEST – DOWNBEAT MAGAZINE, 1960

MINGUS EXPLAINS SONG TITLES

THE TOWERS