SCM Music Player

giovedì 26 febbraio 2009

Mark Rothko: Sacrificio di Ifigenia (1942)


Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia. In 1913, he left Russia and settled with the rest of his family in Portland, Oregon. Rothko attended Yale University, New Haven, on a scholarship from 1921 to 1923. That year, he left Yale without receiving a degree and moved to New York. In 1925, he studied under Max Weber at the Art Students League. He participated in his first group exhibition at the Opportunity Galleries, New York, in 1928. During the early 1930s, Rothko became a close friend of Milton Avery and Adolph Gottlieb. His first solo show took place at the Portland Art Museum in 1933. Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in 1933. In 1935, he was a founding member of the Ten, a group of artists sympathetic to abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art Project from 1936 to 1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he worked closely with Gottlieb, developing a painting style with mythological content, simple flat shapes, and imagery inspired by primitive art. By mid-decade, his work incorporated Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of This Century in New York in 1945. In 1947 and 1949, Rothko taught at the California School of Fine Arts, San Francisco, where Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in 1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which frontal, luminous rectangles seem to hover on the canvas surface. In 1958, the artist began his first commission, monumental paintings for the Four Seasons Restaurant in New York. The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961. He completed murals for Harvard University in 1962 and in 1964 accepted a mural commission for an interdenominational chapel in Houston. Rothko took his own life February 25, 1970, in his New York studio. A year later, the Rothko Chapel in Houston was dedicated.was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia. In 1913, he left Russia and settled with the rest of his family in Portland, Oregon. Rothko attended Yale University, New Haven, on a scholarship from 1921 to 1923. That year, he left Yale without receiving a degree and moved to New York. In 1925, he studied under Max Weber at the Art Students League. He participated in his first group exhibition at the Opportunity Galleries, New York, in 1928. During the early 1930s, Rothko became a close friend of Milton Avery and Adolph Gottlieb. His first solo show took place at the Portland Art Museum in 1933. Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in 1933. In 1935, he was a founding member of the Ten, a group of artists sympathetic to abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art Project from 1936 to 1937. By 1936, Rothko knew Barnett Newman. In the early 1940s, he worked closely with Gottlieb, developing a painting style with mythological content, simple flat shapes, and imagery inspired by primitive art. By mid-decade, his work incorporated Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of This Century in New York in 1945. In 1947 and 1949, Rothko taught at the California School of Fine Arts, San Francisco, where Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in 1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which frontal, luminous rectangles seem to hover on the canvas surface. In 1958, the artist began his first commission, monumental paintings for the Four Seasons Restaurant in New York. The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961. He completed murals for Harvard University in 1962 and in 1964 accepted a mural commission for an interdenominational chapel in Houston. Rothko took his own life February 25, 1970, in his New York studio.

Picasso:bambini






"Tutti i bambini sono degli artisti nati; il difficile sta nel restarlo da grandi"




Fornace Jazz Club



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Maggio 2005
La Fornace Jazz Club
Mestrino-Padova
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Front Line
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Fabio Bettelle/cornetta
Federico Ranzato/clarinetto
Moreno Milanetto/trombone
Zeno Odorizzi/sax tenore & soprano
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Second Line
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Riccardo Ranzato/banjo
Giancarlo Tombesi/contrabbasso
Andrea Napolitano/batteria
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Alberto Maria Cipolli/leader & jazz singer

mercoledì 25 febbraio 2009

oscar Klein:All of me


***"All Of Me" OSCAR KLEIN & EUROPEAN JAZZ STARS & LINO PATRUNO***********************************************************

Louis Armstrong: Someday

Louis Armstrong All Stars in the Goodyear Jazz show from 1962.
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Kai Olsen :Blue And Brokenhearted


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Ib Kai Olsen (IKO), born june 1919 in Copenhagen, is one of the pioneers of danish traditional jazz. After WW2 he joined the then newly established Hot Club of Denmark, among whose members a club band - the first danish trad band - was formed around 1948, mainly inspired from the early british jazz clubs.

As could be expected the beginning was rather mediocre, so Ib felt he could do better than that and bought himself a cornet. After having practised for some time he joined Hot Club Jazz Band and started playing 1. cornet. Later on it separated itself from the now fading Hot Club and became Ib K. Olsen’s Jazz Band.

Since the late seventies the declining public interest in traditional jazz has forced Ib and his men into periods of inactivity, but whenever possible a new group would emerge again. IKO’s present band - his Jazz Friends - has a Hot Five line-up, occasionally increased with a bass player. The group has been together, virtually unchanged, since 1998, and although the average age of the band members now exceeds 70 years, the musical standard is remarkable. Along with the Jazz Friends Ib has also been a key member of Rhythm Gang during nearly the same period.

IKO is a modest and highly estimated Gentleman, and hopefully his horn, reflecting the sound of King Oliver, Papa Celestin and Sam Morgan, shall be with us for still many years.

Ben Bernie, Fats Waller- I've Got A Feeling I'm Falling,1929


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Ben Bernie Hotel Roosevelt Orchestra, voc. Scrappy Lambert - I've Got A Feeling I'm Falling (Rose/Link/T."Fats" Waller), Brunswick 1929

Casa Loma Orch. - Under A Blanket Of Blue, 1933


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Their name often linked with leader Glen Gray, the Casa Loma Orchestra was the first ''swing'' band. As early as 1929 they began playing the same mixture of hot jazz and sweet ballads that Benny Goodman would later popularize and that would dominate the music industry in the late 1930s and early 1940s.
Originally named the Orange Blossoms, the group first formed in Detroit during the mid-1920s as an offshoot of Jean Goldkette's orchestra. Gray, then known as Spike Knoblaugh, joined the group in the winter of 1925-26 as a sax player. Henry Biagini was leader. Playing in and around the Detroit area the Orange Blossoms were booked into a brand new Toronto club called the Casa Loma in 1927. Built in preparation for a visit by the Prince of Wales the club never opened, and in 1929 the Orange Blossoms, shedding Goldkette's mantel and striking out on their own, decided to rename themselves the Casa Loma Orchestra in memorial.
The bandmembers formed a cooperative, dismissing Biagini and electing Gray as president and leader. They moved to New York and were soon booked into the Roseland Ballroom, where a representative from Okeh Records discovered them and offered a deal. Alternating between big band jazz and sentimental ballads the group sounded better on the latter than it did on the former. Nevertheless, the Casa Loma Orchestra had a unique sound and quickly began to attract the attention of the hipper college crowd.
After cutting six sides for Okeh the group signed with Brunswick. They were so popular however that Victor also signed them, and the group ended up recording on both labels simultaneously. Eventually they began to record exclusively for Brunswick and remained there until signing with Decca in 1943. Kenny Sargent, who also played sax, was vocalist. On their first sides for Okeh and Brunswick, they were billed as simply the ''Casa Loma Orchestra.'' Victor however billed them as the ''Glen Gray Orchestra.'' After leaving Victor they began using the combined moniker ''Glen Gray and the Casa Loma Orchestra.''

Recording: Glen Gray & His Casa Loma Orch. voc. Kenny Sargent - Under A Blanket Of Blue (Jerry Levinson/Marty Symes, Al Neiburg), Brunswick 1933

Casa Loma Orch. - Talk Of The Town, 1942



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The Casa Loma Orchestra was an American swing band active from 1927 to 1963. It did not tour after 1950 but continued to record as a studio group.
The band was organized in 1927, in Detroit, by Jean Goldkette, a French born pianist, who had over 20 bands under his name by the mid-'20s . The one which is remembered today was his main unit which recorded for Victor during 1924-29; that is the one who included Tommy and Jimmy Dorsey and Joe Venuti and the legendary cornetist Bix Beiderbecke . In 1927 Paul Whiteman hired away most of Goldkette's top jazz players (including Bix and Trumbauer) and -- from the remaining musicians plus a few new ones (including the saxophonist, Glen Gray) Jean Goldkette organized the Orange Blossoms. However, in 1928 during their stay in Toronto, Canada, Glen Gray took over the leadership and the band had adopted the Casa Loma name, by the time of its first recordings in 1929, when it was the house band at Casa Loma in Toronto, which was then operating as a hotel.

From 1929 until the rapid multiplication in the number of swing bands from 1935 on, the Casa Loma Orchestra was one of the top North American dance bands, featuring trombonist Pee Wee Hunt, trumpeter Frank L. Ryerson, trumpeter Sonny Dunham, clarinetist Clarence Hutchenrider, drummer Tony Briglia and singer Kenny Sargent. Arrangements were by Gene Gifford, who also composed much of the band's book, Salvador "Tutti" Camarata and Horace Henderson. Their mid-1930s appearances on the long run radio comedy-variety program,The Camel Caravan (introduced with their theme, "Smoke Rings") increased their popularity.
Hits included "Casa Loma Stomp," "No Name Jive" and "Maniac's Ball". Part of the reason for the band's decline is that other big bands included in their books hard-swinging numbers emulating the hot Casa Loma style. In the 1940s the band featured guitarist Herb Ellis, trumpeter Bobby Hackett and cornetist Red Nichols. Jazz historians are currently researching and writing articles and books about the orchestra.


Recording: Glen Gray's Casa Loma Orchestra & Vocal Trio- Talk Of The Town (Jerry Livingston, Al J. Neiburg and Marty Symes), Decca 1942

Thanks to YT friend: fromthesidelines, I can add this important detail about the recording. It's what he writes:
The "Casa Lomans" originally recorded this for Columbia in 1933- this was the "remake", recorded for Decca on January 15, 1942, with Kenny Sargent (again) delivering the vocal, with chorus.....
Categoria: Musica

Tag: Glen Gray Jean Goldkette American dance band jazz age swing era 78s nostalgy

Preservation Hall Jazz Band Darktown Strutters Ball

Kid Thomas tp, Louis Nelson tb, Emanuel Paul ts, Albert Burbank cl, Emanuel Sayles bj, Twat Butler b, Alonzo Stewart d together with the Big Band of Duke Ellington

Heinz Sandauer orchestra: Whiskey - Soda 1936

Jazz from Vienna: Heinz Sandauer Orch. - Whiskey-Soda, 1936


giovedì 19 febbraio 2009

Louis Armstrong:rare video clip

http://www.56.com/n_v140_/c32_/21_/3_/michaellu68_/zhajm_120042414172_/174000_/0_/27379954.swf

Risto/Pizzeria Caneva 29







Correva l'anno 2004


Dinner & Dance  CANEVA 29
Old River Jazz Society

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Gastone Bortoloso/tromba & flicorno

Gianni Stefani/sax tenore & soprano

Fabio Reguzzoni/pianoforte

Stefano Lionello/contrabbasso

Andrea Napolitano/batteria

Alberto Maria Cipolli/leader & jazz singer



mercoledì 18 febbraio 2009

Valparaíso Dixieland Jazz Band - Jada

Agrupación de Jazz formada el año 1988 en la ciudad/puerto de Valparaíso, Chile, Súdamerica. Cultiva el Jazz tradicional, estilo dixieland, evolucionando en los años 20 en adelante por el gran trom...

The Lawrence Welk Show: Ja Da

Featuring Bill Page at the clarinet (1956)

Coyote Hills Jazz Band

Coyote Hills Jazz Band "China Boy"
Band website: http://www.chjazz.com Coyote Hills Jazz Band plays "China Boy" at Casey's Tavern on November 14, 2007. Personnel: Gene Marklevits - trumpet, leader George Gibbs - Trombone, Business ...


Pete Fountain: Dippermouth Blues

Featuring George Thow, Pete Fountain, Jimmy Henderson, Russ Klein and the band (1958)
The Lawrence Welk Show: Dippermouth Blues

martedì 17 febbraio 2009

Satchmo





Louis Armstrong in 1931


Louis ArmstrongWith dazzling virtuosity on the trumpet and an innovative singing style, Satchmo was the fountainhead of a thoroughly original American sound.Pops. Sweet Papa Dip. Satchmo. He had perfect pitch and perfect rhythm. His improvised melodies and singing could be as lofty as a moon flight or as low-down as the blood drops of a street thug dying in the gutter. Like most of the great innovators in jazz, he was a small man. But the extent of his influence across jazz, across American music and around the world has such continuing stature that he is one of the few who can easily be mentioned with Stravinsky, Picasso and Joyce. His life was the embodiment of one who moves from rags to riches, from anonymity to internationally imitated innovator. Louis Daniel Armstrong supplied revolutionary language that took on such pervasiveness that it became commonplace, like the light bulb, the airplane, the telephone.

That is why Armstrong remains a deep force in our American expression. Not only do we hear him in those trumpet players who represent the present renaissance in jazz — Wynton Marsalis, Wallace Roney, Terence Blanchard, Roy Hargrove, Nicholas Payton — we can also detect his influence in certain rhythms that sweep from country-and-western music all the way over to the chanted doggerel of rap.
For many years it was thought that Armstrong was born in New Orleans on July 4, 1900, a perfect day for the man who wrote the musical Declaration of Independence for Americans of this century. But the estimable writer Gary Giddins discovered the birth certificate that proves Armstrong was born Aug. 4, 1901. He grew up at the bottom, hustling and hustling, trying to bring something home to eat, sometimes searching garbage cans for food that might still be suitable for supper. The spirit of Armstrong's world, however, was not dominated by the deprivation of poverty and the dangers of wild living.
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Louis Armstrong:Canal Street Blues


Louis Armstrong and his All Stars
3 ottobre 1962
Monaco di Baviera -Germania

domenica 15 febbraio 2009

Campolongo Maggiore/teatro


Una delle prime immagini della Dixieland Band 

Correva l'anno   1983
Front Line
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Moreno Milanetto
Zeno Odorizzi
Fabio Bettelle
Federico Ranzato
Marcello Massellani
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Second Line
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Renzo Rizzardo
Giancarlo Tombesi
Alberto Maria Cipolli
Riccardo Ranzato
Andrea Napolitano
Luciano Tristo
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venerdì 13 febbraio 2009

Original Perdido Jazz Band
















Domenica 12 luglio 2008: una data da ricordare!
La O.P.J.B ha fatto trascorrere ai numerosi fan del Jazz Tradizionale presenti all'evento una magica ed indimenticabile serata.
Grazie

lunedì 9 febbraio 2009

Un anno di Jazz a Padova 2001








Un Anno di Jazz a Padova (prima edizione )

Centro Porsche Padova

31 ottobre 2001 


Old River Jazz Society

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Front Line

Gastone Bortoloso/cornetta
Francesco Ganassin/clarinetto
Beppe Calamosca/trombone
Renzo De Rossi/sax tenore & baritono & soprano


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Second Line

Fabio Reguzzoni/piano
Nino Corsaro/chitarra
Beppe Pilotto/contrabbasso
Riccardo Baggio/batteria
Alberto Maria Cipolli/leader & jazz singer

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Villa Valmarana Morosini


Domenica 20 agosto 2005

Old River Jazz Society

Altavilla Vicentina
Parco Villa Valmarana Morosini
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La tanto attesa Dixieland Band veneta proporrà ai numerosi appassionati del Jazz Trad un repertorio colmo di autentiche gemme del jazz: Basin Street Blues,Sweet Georgia Brown,12 Street Rag,Fidgety Feet,Tiger Rag,etc.
Un autentico tuffo nei "Roaring Twenties":l'età d'oro del jazz !

domenica 8 febbraio 2009

Tributo a Louis Armstrong


Fonte http://www.satchmo.com/louisarmstrong/

Search Satchmo.com for more on Louis ArmstrongCopyright © 2007


Satchmo.com's Tribute to Jazz Legend Louis Armstrong
Props For Pops
If Louis Armstrong were still alive, he would have celebrated his 100th birthday on July 4, 2000. Satch believed his birth date to be July 4, 1900. A baptismal certificate, indicating a birth date of August 4, 1901, was discovered in 1983, 12 years after his death (July 6, 1971). However you interpret this, Louis' date of birth is irrelevent. The bottom line was the music and the man. The dawn of the new century is an ideal opportunity to pay tribute to a legend -- jazz progenitor and goodwill ambassador Louis (aka "Satchmo"; aka "Pops") Armstrong. We humbly offer the appended info and reference links on "Satchmo The Great" in his honor. We love ya Pops!
This site is a work in progress, and it will continue to be expanded and updated on an ongoing basis. Send comments and questions to editor (at) satchmo.com.
Louis Armstrong News
Visit our TV Page for upcoming Louis Armstrong TV appearances.
New on DVD - the 1948 musical comedy "A Song is Born" hits stores on April 7, 2009; the film stars Danny Kaye and Virginia Mayo, with Benny Goodman, Tommy Dorsey, Louis Armstrong, Mel Powell, Louis Bellson, Lionel Hampton and Charlie Barnet
Hall of Fame - Satchmo's 1931 Okeh single "Star Dust" is among the 2009 additions to the Grammy Hall of Fame
Festivals - the 2009 "Satchmo SummerFest" is set for July 30 - August 2, 2009 in New Orleans
Music & Video - check out recommended Satchmo recordings and videos (updated January 2009) to start or add to your Louis Armstrong collection.
Pops on NPR - check out NPR's Jazz Profiles features on "Louis Armstrong: The Man and His Music" (August 2007)
Books - "All of Me: The Complete Discography of Louis Armstrong" and "Louis Armstrong's New Orleans" - see Bookshop for details!
Louis Armstrong - Old News
Satchmo - Quotes & Tributes
Louis Armstrong - Photo Gallery
Satchmo's Awards & Honors
Louis Armstrong Discussion Forum
Louis Armstrong Merchandise
Louis Armstrong on TV (RockOnTV)
Louis Links - Bio's & More

Bronse Querte : Sganassade e Sganassoni


Sabato 27 aprile 2002
Piccolo Teatro Don Bosco in via Asolo a Padova.
Le Bronse Querte presentano in anteprima nazionale lo spettacolo "Sganassade & Sganassoni - Il meglio delle Bronse Querte a ritmo dixieland" Saranno accompagnate nel loro show dall'Old River Jazz Society .

Dedicato all'amico Giannantonio Bresciani

COUNTRY CLUB CASA GIALLA

Alberto Maria Cipolli e Giannantonio Bresciani presentano con simpatia e "savoir faire" ai numerosi amici presenti al concerto la Original Perdido Jazz Band: la Dixieland Band più longeva di Verona,vantando circa 55 anni di attività!
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Caro Giannantonio,grazie della tua amicizia









Fats Waller: Biografia

Fonte:http://www.cmt.com/artists/az/waller_fats/bio.jhtml

Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers -- and as so often happens, one facet tends to obscure the other. His extraordinarily light and flexible touch belied his ample physical girth; he could swing as hard as any pianist alive or dead in his classic James P. Johnson-derived stride manner, with a powerful left hand delivering the octaves and tenths in a tireless, rapid, seamless stream. Waller also pioneered the use of the pipe organ and Hammond organ in jazz -- he called the pipe organ the "God box" -- adapting his irresistible sense of swing to the pedals and a staccato right hand while making imaginative changes of the registration. As a composer and improviser, his melodic invention rarely flagged, and he contributed fistfuls of joyous yet paradoxically winsome songs like "Honeysuckle Rose," "Ain't Misbehavin,'" "Keepin' Out of Mischief Now," "Blue Turning Grey Over You" and the extraordinary "Jitterbug Waltz" to the jazz repertoire.
During his lifetime and afterwards, though, Fats Waller was best known to the world for his outsized comic personality and sly vocals, where he would send up trashy tunes that Victor Records made him record with his nifty combo, Fats Waller & His Rhythm. Yet on virtually any of his records, whether the song is an evergreen standard or the most trite bit of doggerel that a Tin Pan Alley hack could serve up, you will hear a winning combination of good knockabout humor, foot-tapping rhythm and fantastic piano playing. Today, almost all of Fats Waller's studio recordings can be found on RCA's on-again-off-again series The Complete Fats Waller, which commenced on LPs in 1975 and was still in progress during the 1990s.
Thomas "Fats" Waller came from a Harlem household where his father was a Baptist lay preacher and his mother played piano and organ. Waller took up the piano at age six, playing in a school orchestra led by Edgar Sampson (of Chick Webb fame). After his mother died when he was 14, Waller moved into the home of pianist Russell Brooks, where he met and studied with James P. Johnson. Later, Waller also received classical lessons from Carl Bohm and the famous pianist Leopold Godowsky. After making his first record at age 18 for Okeh in 1922, "Birmingham Blues"/"'Muscle Shoals Blues,"" he backed various blues singers and worked as house pianist and organist at rent parties and in movie theaters and clubs. He began to attract attention as a composer during the early- and mid-'20s, forming a most fruitful alliance with lyricist Andy Razaf that resulted in three Broadway shows in the late '20s, Keep Shufflin', Load of Coal, and Hot Chocolates.
Waller started making records for Victor in 1926; his most significant early records for that label were a series of brilliant 1929 solo piano sides of his own compositions like "Handful of Keys" and "Smashing Thirds." After finally signing an exclusive Victor contract in 1934, he began the long-running, prolific series of records with His Rhythm, which won him great fame and produced several hits, including "Your Feet's Too Big," "The Joint Is Jumpin'" and "I'm Gonna Sit Right Down and Write Myself a Letter." He began to appear in films like Hooray for Love and King of Burlesque in 1935 while continuing regular appearances on radio that dated back to 1923. He toured Europe in 1938, made organ recordings in London for HMV, and appeared on one of the first television broadcasts. He returned to London the following spring to record his most extensive composition, "London Suite" for piano and percussion, and embark on an extensive continental tour (which, alas, was canceled by fears of impending war with Germany). Well aware of the popularity of big bands in the '30s, Waller tried to form his own, but they were short-lived.
Into the 1940s, Waller's touring schedule of the U.S. escalated, he contributed music to another musical, Early to Bed, the film appearances kept coming (including a memorable stretch of Stormy Weather where he led an all-star band that included Benny Carter, Slam Stewart and Zutty Singleton), the recordings continued to flow, and he continued to eat and drink in extremely heavy quantities. Years of draining alimony squabbles, plus overindulgence and, no doubt, frustration over not being taken more seriously as an artist, began to wear the pianist down. Finally, after becoming ill during a gig at the Zanzibar Room in Hollywood in December, 1943, Waller boarded the Santa Fe Chief train for the long trip back to New York. He never made it, dying of pneumonia aboard the train during a stop at Union Station in Kansas City.
While every clown longs to play Hamlet as per the cliche -- and Waller did have so-called serious musical pretensions, longing to follow in George Gershwin's footsteps and compose concert music -- it probably was not in the cards anyway due to the racial barriers of the first half of the 20th century. Besides, given the fact that Waller influenced a long line of pianists of and after his time, including Count Basie (who studied with Fats), Teddy Wilson, Art Tatum, Thelonious Monk, Dave Brubeck and countless others, his impact has been truly profound. ~ Richard S. Ginell, All Music Guide

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Fats Waller Lyrics
Song Lyrics
Album
Video
Year
I'm Gonna Sit Right Down and Write Myself a Letter
Legendary Radio Broadcasts

2008
Ain't Misbehavin'
The Complete Recorded Works, Vol. 2: A Handful of Keys, CD A

2006
I Ain't Got Nobody
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Something Tells Me
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Your Feet's Too Big
His Best Recordings 1928-1942

1996
You Rascal You
The Complete Recorded Works, Vol. 2: A Handful of Keys, CD C

2006
The Sheik of Araby [Alternative]
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
Career Perspective 1922-1943

1943
Ain't Misbehavin'
Definitive Fats Waller, Vols. 1 & 2

1996
Honeysuckle Rose
Definitive Fats Waller, Vols. 1 & 2

1996
Honeysuckle Rose
Legendary Radio Broadcasts

2008
Tea for Two
Definitive Fats Waller, Vols. 1 & 2

1996
Then I'll Be Tired of You
The Complete Recorded Works, Vol. 2: A Handful of Keys, CD C

2006
Blue Turning Grey Over You
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Lonesome Road
At the Organ (1926-1939) Blues and Spirituals

1939
I'm Gonna Sit Right Down and Write Myself a Letter
His Best Recordings 1928-1942

1996
St. Louis Blues
At the Organ (1926-1939) Blues and Spirituals

1939
St. Louis Blues
Legendary Radio Broadcasts

2008
Tea for Two
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
The Sheik of Araby
Definitive Fats Waller, Vols. 1 & 2

1996
It's a Sin to Tell a Lie
Legendary Radio Broadcasts

2008
Lulu's Back in Town
Jazz Hour

1991
Ain't Misbehavin'
His Best Recordings 1928-1942

1996
You Showed Me the Way [Instrumental]
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
Definitive Fats Waller, Vols. 1 & 2

1996
Honeysuckle Rose
Jazz Hour

1991
Honeysuckle Rose
Legendary Radio Broadcasts

2008
Beale Street Blues
At the Organ (1926-1939) Blues and Spirituals

1939
Basin Street Blues
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Ain't Misbehavin [Incomplete]
Legendary Radio Broadcasts

2008
Christopher Columbus
Legendary Radio Broadcasts

2008
Tea for Two
Definitive Fats Waller, Vols. 1 & 2

1996
The Sheik of Araby
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
You Showed Me the Way
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
Legendary Radio Broadcasts

2008
Your Feet's Too Big
At the Piano

2002
Christopher Columbus
Legendary Radio Broadcasts

2008
Honeysuckle Rose
Legendary Radio Broadcasts

2008
Dinah
Definitive Fats Waller, Vols. 1 & 2

1996
Ain't Misbehavin'
At the Piano

2002
On the Sunny Side of the Street
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Until the Real Thing Comes Along
Legendary Radio Broadcasts

2008
Dinah [Partial Take]
Definitive Fats Waller, Vols. 1 & 2

1996
Stardust
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
Definitive Fats Waller, Vols. 1 & 2

1996
Winter Weather
Legendary Radio Broadcasts

2008
Then I'll Be Tired of You
Jazz Hour

1991
You Rascal You
Career Perspective 1922-1943

1943
Ain't Misbehavin'
Definitive Fats Waller, Vols. 1 & 2

1996
Cryin' Mood
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
The Complete Recorded Works, Vol. 2: A Handful of Keys, CD D

2006
Your Feet's Too Big
Legendary Radio Broadcasts

2008
It's a Sin to Tell a Lie
His Best Recordings 1928-1942

1996
I Ain't Got Nobody
At the Organ (1926-1939) Blues and Spirituals

1939
Ain't Misbehavin'
Legendary Radio Broadcasts

2008
Honeysuckle Rose
At the Piano

2002
Honeysuckle Rose
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
My First Impression of You
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

2008
Honeysuckle Rose
His Best Recordings 1928-1942

1996
Keepin' Out of Mischief Now
Complete Recorded Works, Vol. 4: New York Chicago Hollywood

venerdì 6 febbraio 2009

giovedì 5 febbraio 2009

Louis Armstrong

http://bloggandojazz.blogspot.com/search/label/Louis%20Armstrong

Addio New Orleans
a 6.56
domenica 22 giugno 2008
Tra le orchestre solide e vivaci che suonavano sui battelli e bene ricordare quella che faceva capo a Fate Marable. Eseguiva prevalentemente musica da ballo ed era composta da figure destinate a diventare famose come Louis Armstrong, Pop Foster, Johnny St. Cyr, Baddy Dodds, Picou. C'era anche Davey Jones, che suonava il mellofono, uno strano incrocio fra il corno francese e la cornetta, strumento che produceva suoni languidi e melodiosi che facevano un affascinante contrappunto con l'aggressivita' (non priva di struggenti armonie) che sprigionava la cornetta di Louis Armstrong, il futuro re indiscusso di questa musica. La vita dei musicisti a bordo delle chiatte e dei battelli era quanto mai suggestiva, e per molti di loro rappresento' un formidabile tirocinio per l'esplosione degli anni futuri. Di Armstrong si racconta, a proposito dei suoi polmoni a stantuffo e della resistenza della bocca a sacco che gli valse l'appellativo di "Satchelmouth", che era in grado di suonare instancabilmente, con il gruppo di Marable, lungo il corso del fiume, per diverse miglia. In seguito i viaggi divennero tristi e dolorosi per l'immigrazione a Chicago, dopo il proibizionismo e la chiusura delle case di tolleranza del quartiere a luci rosse di Storyville. Fu un esodo angoscioso, poiche' tutti erano ben consapevoli che mai piu' sarebbe stato possibile recuperare quell'atmosfera irripetibile del Mardi Gras nella citta' del delta e che la stessa forza di solidarieta' che li univa nella capitale della Luisiana si sarebbe sfrangiata sotto i colpi del business, del professionismo, della lotta per la sopravvivenza. Furono proprio i famosi battelli a trasportare a Chicago una fitta schiera di suonatori di New Orleans. Proprio Luois Armstrong, tanti anni dopo, cantera' al pubblico di tutto il mondo una canzone che rivelava appieno un certo stato d'animo. Il canto, doloroso e struggente, si chiamava Do You Know What It Means To Miss New Orleans, ed un fragoroso applauso accompagnava la voce "sporca" di Satchmo.(Tratto dalla "Storia del Jazz" di Walter Mauro)

Buddy Bolden

http://bloggandojazz.blogspot.com/search/label/Buddy%20Bolden

Gli albori del jazz
a 23.31
venerdì 20 giugno 2008
New Orleans divenne un centro di confluenza di varie culture: quella francese di antica napoleonica memoria, quella spagnola delle contigue terre dell'America Latina ed infine la locale, costituita dai neri giunti dall'Africa. La citta' del famoso fiume Mississipi non tardo' ad assumere un ruolo primario nella geografia dell'intrattenimento degli schiavi. Congo Square, oggi simbolo della schivitu', si trasformo' in un'area in cui i neri si esibivano in giochi, in canti accompagnati da tam tam, ultima eredita' di una terra lontana e simbolo dello sradicamento, ed in riti e cerimonie Voodoo. Erano nenie molto strane e singolari, suoni indecifrabili, antiche grida tribali, filtrate nel crogiuolo di altre culture, quella francese e quella spagnola. Dominavano le bamboulas, grandi tam tam fatti di barili e pelle di vacca percosse da grandi ossa di bue, mentre le canne di bambu' servivano a dare ai suoni primordiali un carattere di affascinante melodia.
Da questa prima forma di espressione musicale, verso la fine del '800, i suonatori neri di New Orleans incominciarono a costruire i primi intrecci musicali, sotto forma di marce, soprattutto nell'accompagnamento di funerali e nel ritorno dalle sepolture. Stava nascendo un gigantesco repertorio musicale, una miniera di suoni cosi' ricca e fertile da perpetuarsi nel tempo, fino alle piu' recenti fruizioni, da parte della pop e della rock music.Nacquero in questo modo le prime organizzazioni di divulgazione della musica jazz. Fra i protagonisti va ricordato Clairbone Williams, suonatore di cornetta, musicista tuttofare, impresario molto astuto e con lui John Robechaux, batterista e direttore, come Williams, di numerosi complessi che si esibivano sui battelli che risalivano la corrente del Mississippi.Negli anni compresi tra 1895 ed il 1907 ando' formandosi un vero e proprio stile, soprattutto per merito della Ragtime Band di Buddy Bolden.(Tratto dalla "Storia del Jazz" di Walter Mauro)

Marcello Piras: Freddie Keppard

http://bloggandojazz.blogspot.com/2008/07/sotto-il-fazzoletto-di-freddie-keppard.html

Sotto il fazzoletto di Freddie Keppard a 8.28

venerdì 11 luglio 2008
di Marcello Piras



Tra le leggende dell'epoca eroica del jazz, quella del cornettista Freddie Keppard (1889-1933) non ha eguali per suggestione evocativa. Non c'e' sommario storico, per quanto striminzito, che non la citi per esteso. E' cosi' affascinante che di solito l'autore la riporta pari pari, astenendosi da un commento. Quasi che una leggenda potesse sopravvivere, intatta, per un secolo, senza celare un significato nascosto, che meriti di essere indagato.
Del personaggio Keppard, la tradizione delinea un ritratto schematico, ma nitido. Uomo dal carattere orgoglioso, individualista, fiero del duo talento improvvisativo, Keppard era indiscusso portavoce e bardo della comunita' creola, che lo venerava. A documento della sua arte, ai posteri sopravvivono solo una dozzina di dischi decrepiti, alcuni dei quali sono cosi' fiochi e arrochiti, che ancora si discute se ci sia lui, o qualcun altro. Purtuttavia, accostandosi a questi cimeli con pazienza infinita, e con un po' d'immaginazione uditiva, alla fine si viene largamente ricompensati. L'aggressiva cornetta di Keppard rivela un fulgore timbrico ed una nobilta' di accenti, che suonano come un'eloquente conferma della leggenda.
Il cornettista incise tra il 1923 ed il '26, quando ormai i sui bei giorni erano passati. Tuttavia, gia' diversi anni prima - nel 1916, secondo la leggenda - , la Victor gli aveva spalancato le porte dei suoi studi. Ma di fronte all'offerta di incidere il primo disco jazz della storia, Keppard si tiro' indietro: temeva di poter essere piu' facilmente copiato. Quando cambio' idea non correva piu' questo rischio: la sua musica era ormai fuori moda. Lo stesso geloso riserbo per i segreti della propria arte fa capolino in un altro aneddoto, non meno classico. Secondo questo, Keppard alla testa della sua banda nelle strade di New Orleans era solito suonare con un fazzoletto sulla mano. Per non farsi "rubare le idee", diceva.
Si potrebbe obiettare che guardando la mano di un suonatore di cornetta non s'impara molto. Non bisogna pero' saltare alla conclusione che quel fazzoletto fosse una mera stravaganza d'artista, in se' priva di senso. Al contrario, l'aneddoto, vero o falso che sia, e' rivelatore di un preciso schema di pensiero non-occidentale, di cui non e' difficile ritrovare il seme.

Amedeo Modigliani



Amédée MODIGLIANI
L'art du portrait Modigliani, peintre et sculpteur italien, est né à Livourne (Italie) le 12 juillet 1884. De santé fragile, il contractera très jeune une pleurésie, puis une typhoïde grave.
Inscrit en 1902 à l'Ecole des Beaux-Arts de Florence, il poursuivra sa formation picturale à Venise, un an plus tard.
En 1906, Modigliani loue un modeste atelier de peintre à Paris. C'est dans les quartiers de Montparnasse et Montmartre que sa vie et sa peinture vont désormais s'épanouir. D'abord influencé par Toulouse-Lautrec, il s'inspire aussi de Paul Cézanne, du cubisme et de la période bleue de Picasso. Modigliani ne retouche jamais ses tableaux mais ceux qui ont posés pour lui ont dit que c'était comme avoir son âme mise à nu.
Modigliani fera le portrait des habitués de Montparnasse, comme Soutine qui avait un « gosier en pente », Diego Rivera, Juan Gris, Max Jacob, Blaise Cendrars et Jean Cocteau. Mais il se consacrera tout autant aux anonymes du quartier.
Modigliani se laisse aller aux excès de boisson et cela menace d'autant sa santé déjà précaire. Il aura également beaucoup d'aventures féminines, dont la poétesse Béatrice Hastings qui restera avec lui pendant presque deux ans. Mais il rencontrera ensuite une jeune française, élève des Arts décoratifs, Jeanne Hébuterne, modèle qui avait posé pour Foujita.
Le 3 décembre 1917 a lieu le premier vernissage de Modigliani, mais l'exposition est fermée quelques heures plus tard pour indécence. À cause de problèmes de santé, il doit déménager à Nice et ne reviendra à Paris qu’en mai 1919.
Sa santé se détériore rapidement et Modigliani mourra d'une méningite tuberculeuse le 24 janvier 1920. Les funérailles sont suivies par les communautés d'artistes de Montmartre et Montparnasse. Jeanne Hébuterne, qui avait été conduite chez ses parents, se donne la mort en se jetant d'une fenêtre du cinquième étage, deux jours après le décès de Modigliani.
Modigliani est surtout connu du public pour ses portraits, élégants et subtils, qui montrent des visages fragiles.

lunedì 2 febbraio 2009

New Orleans Jazz Vipers - Exactly Like You

BIX BEIDERBECKE


PICASSO




Pablo PICASSO
Le génie du XXe siècle Pablo Picasso était un artiste espagnol né à Malaga le 25 octobre 1881, mort le 8 avril 1973 à Mougins, enterré dans le parc du château de Vauvenargues dans les Bouches-du-Rhône. Il est principalement connu pour ses peintures, et est l'un des artistes majeurs du XXe siècle. Il est, avec Georges Braque, le fondateur du mouvement cubiste.

Premières peintures
Picasso a ainsi commencé la peinture dès son plus jeune âge et réalise ses premiers tableaux à huit ans. En 1896, il entre à l'école des Beaux-Arts de Barcelone. Signant d'abord du nom de son père, Ruiz Blanco, il choisit finalement d'utiliser le nom de sa mère, Picasso, à partir de 1901.

Période bleue
La période bleue correspond aux années 1901-1903. Elle tire son nom du fait que le bleu est la teinte dominante de ses toiles à cette époque, qui a débuté avec le suicide de son ami Carlos Casagemas ce qui explique qu'elle soit marquée par les thèmes de la mort, de la vieillesse et de la pauvreté. Saltimbanques, mendiants, aveugles et mères esseulées peuplent alors l'oeuvre de Picasso, qui réalise aussi des tableaux dont les thèmes sont issus de mouvement symboliste de la fin du XIXe siècle.

Période rose
À partir de 1904, il s'installe à Paris, au Bateau-Lavoir. Il y rencontre sa première femme : Fernande Olivier. C'est le début de la période rose. Comme précédemment, c'est l'utilisation des teintes rosées dominantes qui explique cette dénomination. Les thèmes abordés restent mélancoliques et dominés par les sentiments ; on y trouve aussi de nombreuses références au monde du cirque. Picasso privilégia pendant cette période le travail sur le trait, le dessin, plutôt que sur la couleur.

Cubisme
De 1907 à 1914, il réalise avec Georges Braque des peintures qui seront appelées cubistes. Elles sont caractérisées par une recherche sur la géométrie et les formes représentées : tous les objets se retrouvent divisés et réduits en formes géométriques simples, souvent des carrés. Cela signifie en fait qu'un objet n'est pas représenté tel qu'il apparaît visiblement, mais par des codes correspondant à sa réalité connue. L'oeuvre fondatrice du cubisme est Les Demoiselles d'Avignon, une représentation de prostituées dénudées de la rue d'Avignon, à Barcelone. Ce tableau, de format monumental, est achevé par Picasso durant l'été 1907, mais il prépare cette oeuvre dès 1906 par une série de dessins et de peintures préparatoires.

Surréalisme
Picasso revient ensuite pendant quelques années au figuratif, avec notamment des portraits familiaux. Dans les années 1920, il se rapproche du mouvement surréaliste — les corps représentés sont difformes, disloqués, monstrueux — mais d'un surréalisme personnel.
(source Wikipédia)

Louis Armstrong



Phantom Lady - The Jazz Band Scene (1944)