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Mark Winkler: Old Friends
by C. Michael Bailey
The appeal of singer and lyricist Mark Winkler is not that he has an outstanding vocal instrument. Rather, it is uniquely unique; easily identifiable. Winkler has what Broadway composers once called a “lyricist's voice." It is a voice of a song writer that is honest and genuine and that is where Winkler gets to the listener. ...
Justin Page: Lost and Found
by Kyle Simpler
All too often in life, people find themselves reminiscing about their past accomplishments, only wishing they could go back in time to pick up where they left off. Unfortunately, many never get the opportunity to try again. New York-based drummer Justin Page, however, is an exception. The album, Lost And Found, is an excellent comeback for ...
Tino Tracanna: L'arte della sintesi
by Angelo Leonardi
La pubblicazione dell'ultimo album di Tino Tracanna, Distilled, che è anche il debutto discografico del nuovo trio, ci ha dato l'occasione per parlare con uno dei protagonisti del jazz in Italia. Alla presentazione del nuovo lavoro segue un'ampia discussione sugli elementi costitutivi della sua musica, sugli artisti a lui più cari, sulla didattica nei ...
Dave Liebman: Placing Free Jazz and the Avant Garde in Musical and Historical Perspective
by Victor L. Schermer
Like free jazz, this interview arose spontaneously from an informal “how are you doin'" telephone conversation between saxophonist Dave Liebman and All About Jazz contributor Vic Schermer. Schermer phoned Liebman to compliment him on his new e-book The Art of Skill: Establishing the Mindset for Unleashing the Music Inside You published by Michael Lake, and how ...
The Smithsonian Jazz Masterworks Orchestra explores the vast, diverse repertoire of legendary composer Leonard Bernstein on stunning, revelatory new album
Legendary composer Leonard Bernstein once called jazz “the ultimate common denominator of the American musical style.” The music made a profound impact on Bernstein’s work, not only in the more explicit “jazziness” of his work in musical theater, but throughout his “serious” orchestral music as well. Jazz artists in turn felt the influence of Bernstein’s innovations, ...
Ran Blake: Gray Moon, When Soft Rains Fall and Northern Noir
by John Ephland
I'm a sucker for musical duets. Duets that make me feel like I'm in the same room with the two of them. Here we have three recent releases with the iconoclastic, legendary Ran Blake, now 83, in what is his most typical setting. Yes, to hear Blake paired up like this is to hear ...
Horizons Jazz Orchestra: Plays the Music of Lee Harris: The Brite Side
by Edward Blanco
The south Florida-based Horizons Jazz Orchestra (HJO), present their debut album, The Brite Side, performing five original Lee Harris compositions and also five standards sporting fresh new Harris arrangements, for a compelling package of big band music that is a pleasure to hear. Founded in 2016 by Stan Kenton alumnus Dennis Noday, and former baritone saxophonist ...
Ian Shaw, Iain Ballamy, Jamie Safir: What's New
by Chris May
What's new? Not the dozen songs on this enchanting trio album. Most of them have been around for well over fifty years and people will likely still be enjoying them in another fifty. The composers include Duke Ellington, Richard Rodgers, Burt Bacharach, Jimmy Van Heusen, Michel Legrand and Leonard Bernstein. Musically sophisticated and lyrically literate, the ...
Gabriele Coen Quintet: Leonard Bernstein Tribute
by Claudio Bonomi
Gabriele Coen sa come smarcarsi all'interno di uno spesso scontato scenario jazz contemporaneo che ama mimetizzarsi sotto i veli di un'apparente originalità o modernità tout court. Aveva già dato prova in passato del suo savoir faire interpretativo nei tributi a Kurt Weill e a John Zorn e anche nel caso di Leonard Bernstein il sassofonista e ...
Results for pages tagged "Leonard Bernstein"...
Leonard Bernstein
Born:
A presence on Broadway, in Hollywood, at Carnegie Hall and the New York Philharmonic, Leonard Bernstein was a major force in twentieth century music. His exuberant and dramatic style caught the heart of America, bringing classical music to thousands of people from diverse backgrounds. More than any American conductor before him, Bernstein expanded the audience of classical music while maintaining a deep artistic integrity. Bernstein was born in Lawrence, Massachusetts in 1918. His parents were first generation Jewish immigrants from Russia. Though he began learning the piano at age ten, his family hoped he would follow a more practical route, and sent him to the Boston Latin School. After graduating, he attended Harvard University, where he majored in music. His interest was in becoming a concert pianist, but upon graduating he began to seriously study orchestration at the Curtis Institute of Music in Philadelphia. More important than any of the formal training, however, were the summers he spent in Tanglewood, Massachusetts, studying with the great conductor Serge Koussevitzky. In 1942, Koussevitzky invited Bernstein to be the assistant conductor at Tanglewood. Though very young for a conductor, his flamboyant style and emotionally charged performances caught the attention of others in the classical music community--one of whom was Arthur Rodzinzki, who appointed him assistant conductor of the New York Philharmonic. It was at the New York Philharmonic that Bernstein got his big break. Asked to fill in for an ailing guest conductor, Bernstein (then only twenty-five) conducted a difficult and energetic performance with only an evening's preparation. Impressing all who came, Bernstein found himself on the cover of The New York Times--an instant celebrity. Within two years he was named the director of the New York City Symphony. He spent much of the 1950s conducting, teaching, and becoming involved in composing for non- classical genres. Of his many popular efforts of the time, On the Waterfront (1954), Candide (1956), and West Side Story (1957) are the best known. For On the Waterfront he received an Academy Award, and for nearly everything he did, he received the acclaim of an adoring public. In 1957, Bernstein returned to the New York Philharmonic, where he was to make his greatest contribution to the music world. The versatile musical genius that had made him a success on Broadway and in the classical concert halls of the world, found its true home at Lincoln Center. For the next eleven seasons, Bernstein would energize the Philharmonic and American classical music in a way no other director had done. Taking advantage of the recent technological advance of television, Bernstein presented classical music to a wider audience. While he toured throughout the world, visiting seventeen different countries, he also concentrated on creating accessible performances for the average American. For both children and adults, he created shows which were both entertaining and educational. By the time of his resignation from the Philharmonic, he had conducted nine hundred and thirty nine concerts with the orchestra--an unprecedented amount.
