Glenn Gould certainly comes across like a freak when he plays. But listen to his sound! It’s perfect. I have heard Glenn Gould’s Bach recordings before but never saw videos of him. There is a LOT posted on YouTube.com if this interests you. He’s absolutely fascinating to me. And right now I’m in Montreal (his old neck of the woods) so I’m catching the Gould vibe…
Here you’ll see a recent reconstruction of JS Bach’s face from his original bones – and you’ll see that it varies from the popular image we have of what Bach looked like.
I’ve been working with Steve Bach on the new Cirque Du Soleil show for China. He’s just plain awesome. Incredible chops at the keys, great ear and seasoned in dealing with zany musicians.
Chicago Rose is a singer/songwriter whose passion it is to hold up the torch of hope for humanity. She sees the arts as the perfect vehicle to touch people’s hearts with a positive message.
She has a wide vocal range from alto to mezzo-soprano and also plays keyboards and flute. Based out of Chicago, she has been a featured artist for many years on the dueling piano circuit. A strong jazz scat singer and classical vocal stylist as well.
Check out her MySpace page at www.myspace.com/chicagorosediva
Dead Can Dance is a new group to me. Heard them for the first time a couple days ago. When it played I couldn’t speak. I was lost in the odd combination of melody, words and harmony. It was very strange, like two different songs playing at the same time. But somehow it made sense.
There is a Baroque feel to some of their music. Sometimes they sing hymns from the 1400’s. That’s just too cool.
There are plenty of videos of them on YouTube.com so you can check them out. I would describe it as dark, Euro-world music. The male singer sounds like a ringer for Jim Morrison of the doors. The female vocalist has more of an Enya quality in some songs.
DEAD CAN DANCE
Assigning a musical genre to Dead Can Dance is difficult, as its style is particularly eclectic. However, its early work could be considered “darkwave”. In their later work, including and subsequent to the release entitled The Serpent’s Egg, Dead Can Dance would take ancient or various musics from around the world as primary sources, with Gerrard singing glossolalia, giving it a very distinctive style. As a result, their later albums sound quite different from the first three. Various sources have labelled those latter releases as neo-classical, ethereal or dark world music
So I had posted this photo last week of the Cirque band outside in Montreal, Canada. It was supposed to be one of those photos where people say, “Oh that’s cool, you’re playing with Cirque and there’s the band. Neat.”
Instead I get all these emails and notes saying, “Hey, how come every one is wearing a hat but you? Don’t you know it’s cold outside. Let me send you a hat.”
Thank you for the concern, but I don’t need one. Being Scandinavian, we are born with extra layers of blubber around our head. We’re not very smart because of that feature, but our heads are always warm.
That’s how we were able to row around the world pillaging you all. Now you know the secret.
I got introduced to Vince Seneri’s music through a friend who is an executive producer on his project. Vince has a new Hammond B3 CD hitting the streets on March 1, 2008 and there’s already some buzz about it. He’s a seasoned player – check out his clips for yourself on his website at www.vinceseneri.com . The picture above is from one of his previous albums – his new CD release is called “The Prince’s Groove”.
I’ve never met anyone that didn’t like a well played Hammond B3.
The Prince’s Groove – Advance Review
Vince Seneri – THE PRINCE’S GROOVE: Our first exposure to Seneri’s fantastic organ work was in issue #74 <http://zzaj.freehostia.com/Z74Reviews.htm> , & he’s outdone himself on this new CD (due for a March 1st release). As always, he’s got some stellar players with him, like Randy Brecker on trumpet & flugelhorn, Paul Bollenback’s guitar, Dave Valentin on flute, tenor sax from Houston Person, percussion by Richie Flores and Gary Fritz & (last but not least) Buddy Williams on drums. A track title like “Dearly Beloved” would make most listeners think “ballad” (as did I), but this is one of the most scorching Hammond B3 pieces I’ve ever heard… & the title track, a Vince original, is some of the mellowest jazz you’ll ever listen to. My favorite tune was “The Stinger”, composed by Seneri… it flows with sophisticated rhythm, & highlights each player without taking away from any of them… an absolute stunner! Mr. Seneri is (as of this moment) my favorite jazz organ player, & if you love jazz organ, you’ll share my sentiments there. This album gets our MOST HIGHLY RECOMMENDED rating, as well as the “PICK” of this issue for “best organ jazz”!
Another Vince Seneri Review
How about three cheers for jazz journeymen? Cats who’ve been around for a good long while and can play the dickens out of their instruments yet do not qualify as stars — except to fellow musicians who know a genuine talent when they hear one. That’s what you get with Vince Seneri, a masterful keyboardist who cuts it up big-time on the Hammond B3 organ. The guy is a supreme groove-master on the level of such giants as Larry Young, Jimmy Smith and Jack McDuff. Less barbecue-style than those gents, Seneri has his own smooth, soulful sound that rides in the pocket. He also indulges in spirited improvisation that gamely pulls apart melody for sheer entertainment value. This weekend at Zanzibar Blue, Seneri is joined by Dave Valentin (flute), David “Fathead” Newman (sax) and Doc Gibbs (percussion) — all in all, a cool cast of jazz vets.
Eduard Harutyunyan is a percussionist from Armenia and currently with the Cirque Du Soleil band for the Macau China show at the Sands Venetian. I’ve been getting to know him a bit in rehearsals. He is very serious about his craft and has a tight natural feel which he keeps in top shape daily. I’ll have more info on him down the road.
Road to Svara
Performance from Saturday, September 18, 2004 – 11:43 PM
Armadam & Vahagn Hayrapetyan
Flute: Valeri Tolstov
Sax: Suren Kyarunts
Duduk, Zurna: Araik Mkoyan
Ud: Tarek Mustafa
Violancello: Artem Manukyan
Piano: Vahagn Hayrapetyan, Ruben Satyan
Guitar: Vardan Gasparyan
Bass: Artur Molitvin
Percussion: Eduard Harutyunyan
Drums: Alexander Grigoryan
“Time Reportâ€
“Time Report†is one of the most popular jazz bands in Armenia, playing ethnic jazz. The original founders of the group are Khachatur Sahakian and Armen Hyusnunts, who produced their first album (Songs Without Words) in 1996. On the following year drummer Alexander Grigorian (Sash) and bass player Vardan Arakelian joined the duo.
The united band made its debut as “Time Report†in 1998. It conquered highest acclaims in the First International Jazz Festival in Armenia (Yerevan-98).
In 2000 percussionist Eduard Harutyunyan joined the group and drummer Arman Jalalian replaced Alexander Grigorian. In 2005, duduk and zurna player Vardan Grigorian joined the band.
The style of music of “Time Report†is defined as “ethnic-jazzâ€. Their arrangements of Armenian traditional songs and the colorful original compositions of each musician had placed the band at an advanced position on the modern Armenian jazz scene.
They have toured and performed in many countries of the world and participated in various jazz festivals.
“Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York TimesÂ
I’ve been working with Jay Elfenbein in the Macau Cirque band and he’s pretty damn incredible. I guess what first caught my ear is how he can switch from early music to jazz at the drop of a hat. A swingin’ bass man and very knowledgable music historian with a passion for early music. And he’s got that loveable New York charm to boot so he’s a real catch for Cirque. I’ve been learning a lot from him about approaches to music and interpretation which has been awesome.
“Jay Elfenbein, who many regard as the finest medieval and renaissance musician in New York City, is as well an astoundingly unique jazz player, and a composer of undeniable brilliance.”
THE IVORY CONSORT – founded by Jay Elfenbein
The Ivory Consort, founded and directed by Jay Elfenbein, is an ensemble that specializes in medieval music performed in an exciting and historically informed manner. For over ten years, they have brought ancient music to life on stage and over the radio with stunning clarity and brilliant improvisation. The Consort presents a fascinating mosaic of songs from the Golden Age of Spain, when Jews, Muslims and Christians forged a common musical language. With 10th through 13th century songs in Ladino, Hebrew, Arabic and Galician-Portuguese, the program provides a historical context for the intermingling of cultures before the 1492 Expulsion.
The Ivory Consort Jay Elfenbein (vihuela d’arco/vielle/rebab/psaltery/back-up vocals) “Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York Times