45th Street Brass perform their song PBMJ at John’s Alley in Moscow. KJEM also had the opportunity to interview band leader Peter Daniel before the performance. You can find that interview by clicking on the JEM set tab or scrolling down the news feed on the main page.
Bourbon plays an average of over 100 shows per year throughout the world, mainly the US and Europe and he will be performing at the Dahmen Barn this June. His most recent music contains a mix of folk, western, jazz and blues. Bourbon has played on stage alongside musicians who have been a part of Miles Davis’ group as well as Van Morrison’s group. More information can be found at the link provided below.
Photo Credit: The University of Idaho Photo Services
The Lionel Hampton Jazz Festival is held at the University of Idaho and is a festival inviting student musicians and school jazz bands from around the Pacific Northwest to compete for awards, participate in workshops and clinics put on by professional jazz musicians and experience concerts featuring famous musicians and bands. Started in 1967, this year marked the 50th anniversary of the festival. The University of Idaho made a promotional video commemorating the 50th anniversary:
The Saturday night concert started with the Lionel Hampton Jazz Festival Big Band, loud and proud, led by Vern Sielert. Featuring a variety of guests, including Jason Marsalis on Vibraphone, Claudio Roditi on trumpet, and Julia Keefe singing, the band played a variety of songs including a song called 50 and Counting written by Vern and closed with a loud and proud arrangement of Lionel Hampton’s Flying Home featuring Jason Marsalis, in the style of Hampton, and a dancing trumpet section.
The set then transitioned to the best student soloists from the day and each group played their best songs from their set. Then they all came together for a final group performance and one lucky soloist, Max Zhang from Semiahmoo Secondary School in Surrey, British Columbia, was named Outstanding Instrumental Soloist for bass and received a University of Idaho scholarship from Avista Utilities.
After a brief intermission, the stage was reset and, in an outfit far more colorful than the other two performances before her, Esperanza Spaulding took to the stage, had a casual conversation with the audience as she tuned her bass, and then began to play and sing. She was joined by Justin Tyson on drums and Matthew Stevens on guitar. She played a variety of different styles and genres from an Argentinian standard to a mash-up of Humpty Dumpty by Chick Corea and All The Kings Horses by Aretha Franklin because “Those songs just sound like they should go together.” Then Justin left the stage leaving Esperanza and Matthew to play a slow, free version of Have I Stayed Too Long At The Fair. Justin came back and the trio played a loud and engaging Endangered Species. Finally, after asking for some participation, Esperanza Spaulding led a rousing finale of Nina Simone’s Forbidden Fruit. The trio took their bows, the lights came up and as the they walked backstage that was the conclusion of the 50th Lionel Hampton Jazz Festival.
For more information about The Lionel Hampton Jazz Festival and The University of Idaho visit:
In the middle of recording his debut album, jazz vocalist Joon Lee received a phone call out of nowhere that made him stop, quite literally, in his tracks. A dark, run-down karaoke bar in the corner of a Little Tokyo strip mall was on the market — would he like to have a look?
It was the fall of 2009, and Lee was still a relative unknown in the Los Angeles jazz community. A Korean immigrant, he had been studying architecture in New York City when he heard a recording of pianist Chick Corea and vocalist Bobby McFerrin. He promptly quit school and moved across the country to study jazz singing.
Lee had also fantasized about opening a small performance venue, though initially he didn’t find the karaoke bar particularly captivating. “The only really attractive thing about it was that the elevator was really close,” he recalled. “That way, the musicians can bring their gear.” The timing couldn’t have been worse, either — it was, after all, the middle of a major economic recession.
But the appeal proved too powerful. He gave himself only two months to redesign the room. “I had so little time and so little money,” he said. “The only stuff that I bought was the ice machine, toilet bowls, stuff like that.” Even the elevator proved unreliable. Continue reading →
The singular vocalist Theo Bleckmann released a new disc today dedicated to the songs of English singer-songwriter Kate Bush. In other words, it’s an album where one inimitable singer with a small but dedicated fan base reinterprets another.
There’s not much in the way of ding-ding-a-ling on Hello Earth! The Music of Kate Bush. But there is, perhaps, a jazz aesthetic: It grooves, and makes room for interactive improvisation from a talented band. Have a listen to the first track, “Running Up That Hill” (the full album is on Spotify too):
I sensed a number of sympathies between Bleckmann and Bush, starting with their mutual taste for gorgeous idiosyncrasy. But like many Americans, I wasn’t too familiar with the source material. So I wrote to a big Kate Bush fan who happens to be my colleague: the esteemed pop critic Ann Powers, of NPR Music’s The Record. Here’s the discussion we had, in four emails: Continue reading →