Results for "Gabor Szabo"
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Gabor Szabo
Born:
An innovative musician who combined the folk music of his native Hungary with his passion for jazz, Gabor Szabo began his study of the guitar at the age of 14. Following a single free lesson that came as a gift with his first instrument, he then began to teach himself to play by emulating the American jazz performers he heard on the radio. Some work with various bands in the Budapest area gradually developed, but in 1956 Szabo was forced to take refuge in Austria by the Communist takeover of Hungary. Eventually settling in California, Szabo struggled to establish himself as a musician; for a time he worked as a janitor and used his earnings to attend the Berklee School of Music in Boston between 1958 and 1960
Steven Watts (Dotsero) and Mike Mauer, Plus Vice Jazz
by Steven Roby
Musician interviews on this episode include Steven Watts (Dotsero) and Mike Mauer (Mike Maurer Band.) Plus, we'll explore the vice jazz genre. On Backstage Jazz, you'll hear a blend of contemporary and classic jazz and a touch of soul, funk, and world music, all selected by music journalist and host Steven Roby.Playlist Billy Stewart ...
Michael Dease, Bob Brookmeyer, Archie Shepp and More
by Jerome Wilson
This program has a wide range of newer and older modern jazz, including recent music from Michael Dease and Anthony Branker and older work from Bob Brookmeyer and the Archie Shepp Attica Blues Big Band. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of ...
Darius Jones, Lakecia Benjamin, Teddy Edwards and More
by Jerome Wilson
This show features saxophonists such as Darius Jones, Teddy Edwards, and Lakecia Benjamin, the big band music of Horace Tapscott, and a lot more. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of Henry Threadgill & Air (Mosaic) 00:00 Henriette Muller “Memories of a ...
Vossa Jazz Going Strong and Poetic at 50
by Josef Woodard
Vossa Jazz Voss, Norway March 31-April 2, 2023 Origin stories in the still-young-ish wild frontier of jazz festival culture can be fascinating case studies in feisty pioneer spirit. Take the Western Norwegian Vossa Jazz Festival, an important stop in the storied Norwegian festival circuit, which celebrated its ripe old 50th birthday this ...
Bacharach to the Future - Part 2
by Ludovico Granvassu
As a young adult, Burt Bacharach used fake IDs to get into 52nd Street jazz clubs to have his mind blown by heroes of the bebop revolution like Charlie Parker and Dizzy Gillespie. Those early impressions could not but leave a mark in his sophisticated pop songs, seeds that would later make those very same songs ...
Carnaval! With Azul Latino At Club Fox
by Walter Atkins
Carnaval! with Azul Latino Club Fox Redwood City, CA October 1, 2022 Redwood City 's Club Fox served up a Saturday fantastic night of music, dancing and observances. The Fox featured the searing Latin rock music of Carnaval, one of the popular Santana tribute bands in the San Francisco Bay Area ...
Jaki Byard, Gabor Szabo and Rare Carla Bley
by Jerome Wilson
An eclectic show from July 2021 that encompasses a range of music that includes Jaki Byard, Cowboys & Frenchmen, Little Miss Cornshucks and a rare Carla Bley track. Playlist Henry Threadgill Sextett “I Can't Wait Till I Get Home" from The Complete Novus & Columbia Recordings of Henry Threadgill & Air (Mosaic) 00:00 Arturo ...
A Different Drummer, Pt. 8: Ustad Zakir Hussain Talks Tabla
by Karl Ackermann
Origins of the Tabla The twin hand drum was developed in its current form about 300 years ago on the Indian subcontinent but the roots of the tabla may date to pre-Muslim, Arabia. The name comes from “tabl," the Arabic word for drum, and temple carvings of tabla-like double-hand drums date to 500 BCE. Tabla is ...
Charu Suri: The Jazz Raga
by Karl Ackermann
The Roots of Indo-JazzJazz and Indian ragas share common ground in their traditional use of improvisation. They are often talked about in compatible terms, but Ravi Shankar, for one, did not believe that ragas could be compared to jazz improvisation. Spontaneous creation in jazz differs from the complex rhythmic structural patterns of Indian improvisation. Shankar became ...
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