Results for "NEA Jazz Master"
Amid endless choices, the sound of a Dave Holland bass line compels attention. A master of tone and rhythm, the bassist, composer, and bandleader is now in his fifth decade as a performer and his music possesses a rich and kaleidoscopic history. One of Holland's mentors, the affably sage-like saxophonist Sam Rivers, gave him a tip once. "Sam said, ‘Don't leave anything out?"play all of it,' " Holland once told a radio interviewer. "That's become almost a mantra for me over the years," he says, "as I've tried to find a way to build a vehicle which lets me utilize the full spectrum which includes the tradition, playing the blues and improvising freely
Konitz is sometimes regarded as the preeminent cool
jazz saxophonist, because he performed and recorded
with Claude Thornhill, Lennie Tristano (both often cited as
important cool jazz proponents of the mid 1940s), and
with Miles Davis on his epochal Birth of the Cool, which
gave the form its name.
Konitz has also been repeatedly noted as one of the few jazz saxophonists of the late 1940s and 1950s who did not seem imitative of the massively influential Charlie Parker.
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra.
In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass
David Liebman was born in Brooklyn, New York on September 4, 1946. He began classical piano lessons at the age of nine and saxophone by twelve. His “epiphany” was hearing John Coltrane perform live in New York City clubs such as Birdland, Village Vanguard and Half Note as a teenager. Throughout high school and college, Liebman pursued his jazz interest by studying with saxophone guru Joe Allard as well as jazz musicians Lennie Tristano and Charles Lloyd. Upon graduation from New York University (with a degree in American History), he began to seriously devote himself to the full time pursuit of being a jazz artist. In the early 1970s, Liebman took the leading organizational role as Founder and President of Free Life Communication, a cooperative of several dozen young cutting edge musicians intent on performing around New York in venues outside the traditional jazz club situation
The critical consensus is that Charles Lloyd has never sounded better. As he enters his 76th year, the depth of his expression reflects a lifetime of experience. Lloyd has a legendary history in the music world, and could certainly be in a position to slow down and rest on his laurels. But looking back has never been of great interest to this tender warrior; this seeker of beauty and truth. “Go forward,” is his motto, as he keeps shifting to a higher, well calibrated gear. His concerts and recordings are events of pristine beauty and elegance, full of intensely felt emotion and passion that touches deep inside the heart
Abdullah Ibrahim’s new solo program transcends category, combining the intimate and the universal in a unique way that is hinted at in its title. SENZO means “Ancestor” in both Chinese and Japanese. SENZO also echoes the name of Abdullah Ibrahim’s Sotho father, in whose language the word translates as “Creator”. Abdullah Ibrahim, South Africa’s most distinguished pianist and a world-respected master musician, was born in 1934 in Cape Town and baptized Adolph Johannes Brand. His early musical memories were of traditional African Khoi-san songs and the Christian hymns, gospel tunes and spirituals that he heard from his grandmother, who was pianist for the local African Methodist Episcopalian church, and his mother, who led the choir
Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility—a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues