In 1957, Prestige Records Company which located in United States, circulates the album Groovy. The aforementioned discography edition, in which musical composing and arranging belongs to Red Garland, will receive directly the general agreement of musical audience. The plenary musical Garland’ s arrangement, the coexistence of high- level executive musicians, the common aesthetic comprehension of instrumentalist and audience as regards Jazz music, definitely underlie the successful development of the album.
During 2015 the Mi’ster Productions Company, based in France, released the album of musician, performer- trumpeter, Ibrahim Maalouf, which named Kalthoum. The album which bears the name of Egyptian folk singer, Oum Kalthoum, influenced by traditional sounds of Egypt, gains by the first additional days of its release, a remarkable position in the music industry, which deals with international music. The creator signs the artwork and entirely production of the album.
With Atmospheric mood and influences based on the form of Western European music, the Polish origin Aga Zaryan, distinguished by the wide range of adaptations and compositions. The unique timbre of her voice renders the transition possible to various rhythmic and melodic patterns. The whilom sophisticated and statics stylist way of expression, succeeds vocal improvisations with abundance of rhythmic and melodic variations. On a trip that includes western forms, polyrhythms motifs derived from the African community, and traditional blues similar to those that have appeared in Cansas City.Taking by the early age, musical influences from her family and the wider social context that surrounds her, the Polish origin Aga Zaryan, devoted herself entirely to music, directed by her vocal abilities. Participating in small or larger music ensembles, performs concerning the improvisations of the orchestra envelops her.
In 2007 Drummer Hamid Drake meets the tenor Saxophonist Fred Anderson in a particular aesthetic coexistence, which attracts the interest of a demanding public hearings that moves in the Jazz area. The album is called “From the River to the Ocean”. It is the intersection of two of the top performers in the Jazz music sector.Demanding, involving large concentration rate throughout the hearing. This is an album dominated the aesthetics of polyrythmias additions musical and vocal improvisation.
Motivated executive capacity, the guitarist musician Pat Metheny, makes its presence felt in the field of high-level instrumental music. Expand musical rearranging or presenting his personal compositions, through musical encounters with peers. Meetings of high level executive and aesthetic interest. The music consists of compositions, attributed to both him, as a joint operation with other musical instruments. Rarely focuses on the vocal additions. Experimenting with improvisation, attributed instinctively, with rhythmical variations and thematic patterns ranging in a variety of dynamic levels different orientation. The ability to adjust the music in pleasing for the same levels, contradictory or similar, depending on the original version of the piece, is associated with the absolute acceptance of a demanding audience, which follows closely the compositional point of view. Filled feelings melodic motifs, rhythmic alternations, the concise improvisation, clearly characterize the aesthetics of music perception.
Blue Note Jazz Club is a jazz club and restaurant located at 131 West 3rd Street in Greenwich Village, New York City. The club was opened on September 30, 1981, by owner and founder Danny Bensusan, with the Nat Adderley Quintet being the featured performers for the night. Bensusan’s belief was “that if he brought big acts into a comfortable environment with great food, he could pack the house night after night.” The Blue Note was soon established as the city’s premier jazz club, with Dizzy Gillespie, Sarah Vaughan, Lionel Hampton, Oscar Peterson and The Modern Jazz Quartet among prestigious regular performers there. Bensusan booked Ray Charles for a full week every year. It is still considered one of the world’s most famous jazz venues and one of the best known and most expensive in New York.
The Mississippi River Festival The Mississippi River Festival (aka MRF) was a summer outdoor concert series held during the years 1969-1980 on the campus of Southern Illinois University in Edwardsville, Illinois. The Festival was notable due to its central midwest location, the natural ambience of its outdoor venue, and the consistent high quality of performers.
MRF consisted of a variety of popular rock, folk, bluegrass, and classical music performers. The more popular groups, such as The Who, Yes, Chicago, Eagles, and Grateful Dead shows were heavily attended. Some shows attracting crowds in excess of 30,000. It is noteworthy that Jackson Browne appeared as both a backup band (for Yes in 1972 and America in 1973) and ultimately, as a lead act in 1977. He also wrote two of his songs for the live Running on Empty album in a nearby Holiday Inn at the intersection of I-270 and Illinois Route 157. It is estimated that over one million visitors attended MRF over 12 summers.
. The author of this post had his first date with his wife at the Marshall Tucker Band concert at MRF on July 7, 1976.
The Cannonball Adderley Quintet featured Cannonball on alto sax and his brother Nat Adderley on cornet. Cannonball’s first quintet was not very successful, however, after leaving Davis’ group, he formed another, again with his brother, which enjoyed more success.
The new quintet, which later became the Cannonball Adderley Sextet, and Cannonball’s other combos and groups, included such noted musicians as saxophonists Charles Lloyd and Yusef Lateef, pianists Bobby Timmons, Victor Feldman, Joe Zawinul, Hal Galper, Michael Wolff, and George Duke, bassists Ray Brown, Sam Jones, Walter Booker, and Victor Gaskin, and drummers Louis Hayes and Roy McCurdy.
Ginell, Richard S. “Black Messiah – Cannonball Adderley : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved July 8, 2012.
Randel, Don Michael (1996). “Adderley, Cannonball”. The Harvard Biographical Dictionary of Music. Cambridge, Mass.: Harvard University Press. p. 5. ISBN 0-674-37299-9.
Yanow, Scott. “Cannonball Adderley – Music Biography, Credits and Discography”. AllMusic. Retrieved July 8, 2012.
Ben Webster played with Duke Ellington’s orchestra for the first time in 1935, and by 1940 was performing as a full-time musician with Ellington and had become its first major tenor soloist. He credited Johnny Hodges, Ellington’s alto soloist, as a major influence on his playing. During the next three years, he played on many recordings, including Cotton Tail and All Too Soon. His contribution (together with that of bassist Jimmy Blanton) was so important that Ellington’s orchestra during that period is known as the Blanton–Webster band. Webster left the band in 1943 after an angry altercation during which he allegedly cut up one of Ellington’s suits. In an interview with the Newark Star-Ledger in 2003, trumpeter Clark Terry claimed that Webster left Ellington because he slapped Duke, after which he was given his two-weeks notice.