#alvester garnett
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Phil Woods Sax Machine au Festival de Vienne (France) en 1996 : Harlem Nocturne
Phil Woods, Gary Bartz, Charles McPherson, Jesse Davis (as)
Cyrus Chestnut (p), Steve Kirky (b), Alvester Garnett (dr)
#jazz#jazz festival#jazz à vienne#phil woods#gary bartz#charles mcpherson#jesse davis#cyrus chestnut#steve kirky#alvester garnett#1996#saxophone#saxophone section
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Watch "Gospel Meets Jazz: Soul Interlude" on YouTube
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#negrolicity#music#musicians#arlington jones#north texas university#gospel music#alvester garnett#Youtube#darius luckey
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HANGING OUT AT MEZZROW’S
MIKE LEDONNE with John Webber and Willie Jones III, 3 FEBRUARY 2024, 7:30 pm
STEVE ASH with Harvie S and Alvester Garnett, 3 FEBRUARY 2024, 10:30 pm
RAY GALLON with Paul Gill and Jason Brown, 1 FEBRUARY 2024, 10:30 pm
It is rarely a bad week for pianos in general and at Mezzrow’s, I have been pleasantly “stuck” with them after a sojourn of drummerless trios with brass. Back to basics and yet there are connections to those standards heavy shows. Most especially, the best parts of Richie Vitale’s gig were STEVE ASH’s forceful piano and Paul Gill’s bowed bass solos. So I got to see both of them more on their own terms, including Gill with regular partner RAY GALLON.
I had also ventured into Alvaro Torres’ freer/New Music set with John Hebert and Barry Altschul comfortable enough to have my ears stretched that way. He is a sparer pianist, so the counter was a strong set from Miki Yamanaka and then, in person, Billy Childs with Ari Hoenig. Yamanaka, Childs, MIKE LEDONNE, and Ash all play with rich power and insistent swing. Far from tame, they each have nifty surprises within structures that give a sense of familiarity.
I have often found MIKE LEDONNE a bit heavy handed particularly in trios (his role in large ensembles plays to that strength), but he was well suited to my mood. The tunes were bright and interesting—from Billy Eckstine, Cedar Walton, Coltrane maybe (it was a not too reverential After the Rain), and a couple of originals. He was like all of them, a nice mix of fluidity, percussiveness, and lyricism. Willie Jones III was, as always, delightful and important; John Webber was strong and fluid. They were a big, bright band.
STEVE ASH was also very strong and dynamic, maybe a tiny bit subtler. He did have Harvie S on bass and, with Alverster Garnett, they had a new recording to highlight. I liked their material—You and the Night and the Music, I’m Just a Lucky So and So, Bud Powell’s Una Nocha Con Francis (bebop and Latin!), a Jobim, Effendi (strong and modal but evoking McCoy Tyner, not imitating him), an original (I think) ballad, and Speak Low. Harvie S’s strums high on the finger board on Effendi stood out, but it was interesting to see him with a “bigger” trio than with Alan Broadbent and Billy Mintz.
I hope it is not faint praise to call RAY GALLON a welterweight among these cruiser- even heavy- weights. Calling Hank Mobley the middleweight champion of the tenor in the 1950s was meant as an insult, though it shouldn’t be. I simply mean his touch is lighter and he goes a bit back into the source material. He did not open, as he did the last few times I saw him, with Ellington’s Harlem Air Shaft, but did include Moon Song from a 1959 Louis Armstrong date with Oscar Peterson. Pops is Pops and timeless, but he doesn’t get as directly referenced much these days. Still the original opener Plus One sounded Ellington-ish, particularly given my expectations. His previous second tune Two Track Mind was the closer, but a slightly deconstructed Nardis was third almost as expected. His Zombette did have a French feel, a bit of those Debussy Preludes discordances. His touch is just slightly lighter and the rhythmic drive subtler. Perhaps Gill’s arco solos are part of that, but Jason Brown’s drumming with just one ride cymbal was as crisp and inventive as Garnett and Jones III.
Throw in Yamanaka and Childs and this is a strong run for me with my preferred format.
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BIRDLAND presents MATT BAKER and LUKE HAWKINS with special guests JELANI REMY, GABRIELLE STRAVELLI, JACOB KHALIL and more
BIRDLAND JAZZ CLUB will present pianist Matt Baker and singer/dancer Luke Hawkins in “The Buddy Boys Take Birdland” – an exciting night of music, magic and a little mayhem – on Monday, August 14 at 7:00 PM. Their special guests will include vocalists Jelani Remy, Gabrielle Stravelli, Jacob Khalil, Ella Mae Dixon, Kim McClay, and Izze Stein, with Marty Kenny on bass, Alvester Garnett on drums, Ben…
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I Mean You
Charenee Wade Quartet
Charenee Wade – vocals
Oscar Perez – piano
Matthew Rybicki – bass
Alvester Garnett – drums
#I Mean You#Charenee Wade#Oscar Perez#Matthew Rybicki#Alvester Garnett#Thelonious Monk#Vocal Monk#smalls jazz club
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Regina Carter
Regina Carter (born August 6, 1966) is an American jazz violinist. She is the cousin of jazz saxophonist James Carter.
Early life
Carter was born in Detroit and was one of three children in her family.
She began piano lessons at the age of two after playing a melody by ear for her brother's piano teacher. After she deliberately played the wrong ending note at a concert, the piano teacher suggested she take up the violin. She suggested that the Suzuki Method was more conducive to her creativity. Carter's mother enrolled her at the Detroit Community Music School when she was four years old and she began studying the violin. She still studied the piano, as well as tap and ballet.
As a teenager, she played in the youth division of the Detroit Symphony Orchestra. While at school, she was able to take master classes from Itzhak Perlman and Yehudi Menuhin.
Carter attended Cass Technical High School with a close friend, jazz singer Carla Cook, who introduced her to Ella Fitzgerald. In high school, Carter performed with the Detroit Civic Orchestra and played in a pop-funk group named Brainstorm. In addition to taking violin lessons, she also took viola, oboe, and choir lessons.
Carter was studying classical violin at the New England Conservatory of Music in Boston when she decided to switch to jazz, but the school did not have that as a program. She transferred to Oakland University in Rochester, Michigan. Here she studied jazz with Marcus Belgrave. Through Belgrave Carter was able to meet a lot of people active in the Detroit jazz scene, including Lyman Woodard. She graduated in 1985. After graduating, she taught strings in Detroit public schools. Needing a change of scene, she moved to Europe and spent two years in Germany. While making connections, she worked as a nanny for a German family and taught violin on a U.S. military base.
Career
Carter returned to the U.S. and first came into the spotlight as the violinist for the all female pop-jazz quintet Straight Ahead in 1987, with Cynthia Dewberry, Gailyn Mckinney, Eileen Orr, and Marion Hayden. In the early to mid-1990s, Branford Marsalis was quoted as saying, "They truly swing." They released a trio of albums on the Atlantic Jazz label including their self-titled debut, Body and Soul, andLook Straight Ahead. Carter went solo before the release of their third album, Dance of the Forest Rain, and established herself as a force in the jazz world on the violin. In 1991 she left the band and moved to New York City.
While in New York she was a relative unknown and undertook work accompanying performers such as Aretha Franklin, Lauryn Hill, Mary J. Blige, Billy Joel, and Dolly Parton. She also played with Max Roach and Oliver Lake, as well as being in the String Trio of New York. Carter worked on the albums Intermobility (1993), Octagon (1994), and Blues...? (1996) with the group.
While with the trio, she released her first solo CD, Regina Carter (1995). 1997 saw the release of her second solo album dedicated to her mother, entitled Something For Grace. She toured with Wynton Marsalis for the 1997 production Blood on the Fields. She then changed record companies, from Atlantic Records to Verve Music Group, which allowed her more artistic freedom and she releasedRhythms of the Heart (1999).
She released Motor City Moments in 2000, paying homage to her hometown.
In December 2001, she played a concert in Genoa on Il Cannone Guarnerius, once owned and favoured by Niccolò Paganini, a violin that was made in 1743. The violin was bequeathed to Genoa after Paganini's death in 1840. The name of instrument is given because an "explosive" sound can be achieved. Carter was invited to play after the incidents of the September 11 attacks as a gesture of solidarity. She was both the first jazz musician and African American to play the instrument. She later recorded Paganini: After a Dream for Verve Records. The album featured classical works by Maurice Ravel and Claude Debussy, and Cinema Paradiso by Ennio Morricone.
I'll Be Seeing You: A Sentimental Journey, Carter's sixth CD and was conceived as a tribute album to her late mother, which included some of her favorites as well as American standards from the 1920s-1940s. Some songs include "Blue Rose" (Duke Ellington), "Sentimental Journey" (Les Brown), "A-Tisket, A-Tasket" (Ella Fitzgerald), as well as "I'll Be Seeing You".
Active as an educator, mentor, and proponent of the Suzuki method, Carter has taught at numerous institutions, including at Berklee College of Music, and two appearances at Stanford Jazz Workshop.
She currently performs at the head of a quintet. In May 2006, she was touring with Mark Krose (clarinet), Xavier Davis (piano), Alvester Garnett (drums)(still with her in 2011), and Matt Parish (Upright bass).
Carter was awarded a MacArthur Fellows Program grant, also known as a "genius grant", in September 2006. The award includes a grant of $500,000 over five years, and the committee stated this about Carter:
Regina Carter is a master of improvisational jazz violin. Though her work draws upon a wide range of musical influences – including Motown, Afro-Cuban, Swing, Bebop, Folk, and World – she has crafted a signature voice and style....Carter's performances highlight the often overlooked potential of the jazz violin for its lyric, melodic, and percussive potential. Her early training as a classical musician is reflected in the fluidity, grace, and balance of her performance. Carter's repertoire retains a firm connection with the familiar while venturing in new, unexpected directions....Through artistry with an instrument that has been defined predominantly by the classical tradition, Carter is pioneering new possibilities for the violin and for jazz.
Carter married Alvester Garnett in Detroit, Michigan, on September 5, 2004. They knew each other because Garnett plays drums in her band.
http://wikipedia.thetimetube.com/?q=Regina+Carter&lang=en
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20200801 Nat Adderley Trio Alvester Garnett Chris Berger by Gregory Burrus.mp4 from Gregory Burrus on Vimeo.
20200801 Nat Adderley Trio Alvester Garnett Chris Berger by Gregory Burrus.mp4
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Regina Carter and Alvester Garnett: Alone Together Duets | JAZZ NIGHT IN...
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The Music Workers Alliance (MWA) is an organization of, by, and for independent musicians and DJs.
We came together because we are fed up with unfair treatment and lack of benefits, contracts, and representation. We’re launching this alliance to improve our working conditions and amplify our voices in the political and economic decisions that affect our lives.
In the past year our group has been active. We met with City reps and asked for a Music Census. We went to Albany and educated decision makers about the unintended consequences of gig-worker legislation. At the outbreak of Covid-19 we asked for much needed relief by the City, State, and Federal government for ALL gig economy workers. ACT NOW and sign on to our latest call for Covid-19 relief.
We’re close allies of the NYC Artist Coalition, the action group that advocates for the safety and preservation of grassroots cultural spaces and has successfully led many community campaigns: #LetNYCDance #TalksNotRaids #SaveNYCSpaces #FairRentNYC #Covid19Relief
MWA’s members work in many genres — Jazz, Rock, Funk, Hip Hop, Dance, etc. Our musician/DJs activists are affiliated with Arts for Art, Building Beats, Indie Musicians Caucus and the Jazz Advisory Committee of Local 802 AFM, MOMENT NYC, Musicians for Musicians, NYC Artist Coalition, Sound Mind Collective and Underground Producers Alliance.
We call on all independent musicians and DJs to organize, speak up and take action by joining us here.
Founding members:
Jean Cook, Tara Duvivier, Alvester Garnett, Jeannie Hopper, Olympia Kazi, Raz Mesinai, Patricia Nicholson Parker, Marc Ribot, Marcus Rosario, Sohrab Saadat Ladjevardi, Genji Siraisi, Chris St Hillaire
Contact us: [email protected]
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REGINA CARTER (violin) 43 Festival JAZZ Vitoria 18-07-2019
Adam Bimbaum (piano)
Chris Lightcap (bajo)
Alvester Garnett (bateria)
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I had a great time sitting in with Chris Berge, Alvester Garnett, Oscar Perez, Lance Bryant and Mike Lee at the Hat City Kitchen in West Orange New Jersey tonight.
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It's Gonna Be a Hot Jazzy Night of Swinging R&B, Jazz Tunes and more with Nat Adderley Jr on Keys, Alvester Garnett on Drums and Chris Berger on Bass. . . Come join us for another South Orange Village fabulous Summer Saturdays Live Music Session. In the Sloan Street Parking Lot on the Grid Iron Waffle Patio @gridironwaffleshop_so_nj next to @The Fox and Falcon Restaurant and the musical walkway. . . And remember you can grab a drink from @The Fox and Falcon and join us in the patio area or also grab a meal from @mitimitinj @walia07079 @torolocomexicanrestaurant and listen as they are all right there in the Sloan Street Parking Lot. . . Bring a a Chair, bring your Mask, Social Distance and let's Stay Safe. . . #natadderleyjrkeys #alvestergarnettdrums #chrisbergerbass #livemusicsouthorange #livemusicisbetter #gregoryburrusaroundtown #jazzandblues #sovillagecenter #southorangevillage #livemusiconline #livemusicvideo #southorangenj #gregoryburrus #livemusic #music #concert #like #musician #singer #concertphotography #livemusicphotography #livemusicvideo #jazztrio #livemusicphotographer #livemusicrocks #luthervandross #livemusicphotos #livemusiccollective @alclarke_photography @burruschelseag (at Around South Orange, NJ) https://www.instagram.com/p/CDVFGjGHv6e/?igshid=1leup15ybfun3
#natadderleyjrkeys#alvestergarnettdrums#chrisbergerbass#livemusicsouthorange#livemusicisbetter#gregoryburrusaroundtown#jazzandblues#sovillagecenter#southorangevillage#livemusiconline#livemusicvideo#southorangenj#gregoryburrus#livemusic#music#concert#like#musician#singer#concertphotography#livemusicphotography#jazztrio#livemusicphotographer#livemusicrocks#luthervandross#livemusicphotos#livemusiccollective
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USA: Jazz Pianist James Austin Jr. Brings the Wonder of Stevie Wonder to Richard Bona’s Club Bonafide in New York on Thursday, June 6th
Jazz Pianist James Austin Jr. Brings
the Wonder of Stevie Wonder
to Richard Bona’s Club Bonafide in
New York on Thursday, June 6th
Featuring: Justin Robinson, Ben Rubens,
Jeremy Warren, Daniel Sadownick and
Special Guest Vocalist: Alexis Morrast
Austin’s Debut CD -- Songs in the Key of Wonder
Salutes Motown Superstar
(New York, NY) Pianist James Austin Jr. is proud to announce his upcoming venue debut on Thursday, June 6th, at Club Bonafide – the New York jazz room run by international jazz bass star Richard Bona. Austin will be accompanied by a sextet featuring Joe Magnarelli on trumpet, Justin Robinson on sax, Ben Rubens on bass, Jeremy Warrenon drums and Daniel Sadownick on percussion. Additionally, Alexis Morrast will be the special guest vocalist. The group will perform two sets at 6pm and 8pm.
Austin recently released his debut CD, Songs in the Key of Wonder, that features 10 of his unique arrangements of Stevie Wonder songs. Styles run the gamut from the swing of “Isn’t She Lovely” and “Part-Time Lover,” “You Are the Sunshine of My Life” in 7/8, “Tuesday Heartbreak” in a laidback guitar-led quartet gait, and “Lately” caressed as a piano/bass duet. The mood-drenched Wonder love songs “You’ve Got it Bad Girl,” “Golden Lady” and “Overjoyed” are massaged with tender loving radio-friendly care. And “Another Star” gets its Latin roots excavated by a fiery sextet with percussion and horns. Magnarelli, Harris and Reubens all participated on the recording and many of its selections will comprise Austin’s set at Club Bonafide.
“An auspicious debut from this fine pianist…”
--- All About Jazz
A 2006 Theolonious Monk Institute of Jazz International Piano Competition Semi-Finalist Austin has worked with Russell Malone,Don Braden, Frank Morgan, Winard Harper and Mark Gross, among others. He is also the proud MD for up-and-coming vocalist Alexis Morrast, and curates a series of monthly jazz jam sessions meshing legends with newcomers for the New Jersey Performing Arts Center. A meeting with stellar musical director Ray Chew resulted in a plethora of premiere concert hall performances, television shows, and private gigs including Chew’s annual all-star “Night of Inspiration” concerts at Carnegie Hall. On these occasions James has accompanied superstar vocalists from Lalah Hathaway and Brian McKnight to BeBe Winans and Yolanda Adams.
“A most welcome breath of fresh, swinging air across today’s musical landscape…
This CD is a triumph!” --- Wayne Winborne
Institute of Jazz Studies –
Rutgers University – Newark
UPCOMING MAY | JUNE PERFORMANCES
THURSDAY, MAY 30TH | 8PM
Performing with Alexis Morrast
The New Brunswick Jazz Project
Hyatt Regency Hotel
2 Albany Street - New Brunswick, NJ 08901
FRIDAY, MAY 31ST | 7PM
Performing with Alexis Morrast
The Institute of Jazz Studies @ Rutgers University
Clement’s Place – 15 Washington Street
Newark, NJ 07102
FRIDAY, JUNE 14TH & SATURDAY, JUNE 15TH | 7:30PM & 9PM
Performing with the Neal Smith Quartet
Smalls Jazz Club – 183 West 10th Street
New York City 10014
THURSDAY, JUNE 20TH | 7:30PM
NJPAC Jazz Jam Session - Led By James Austin, Jr.
Clement’s Place – 15 Washington Street - Newark, NJ 07102
Featuring: David Williams, Alvester Garnett and Justin Jones
FRIDAY, JUNE 21ST | 7PM
James Austin, Jr. Quintet
Clement’s Place – 15 Washington Street - Newark, NJ 07102
Featuring: Willie Jones III, Ben Rubens, Alex Norris and
Daniel Sadownick
via Blogger http://bit.ly/2EP6xsK
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CD review: Shirley Crabbe - Bridges 2018: Video
CD review: Shirley Crabbe – Bridges 2018: Video
Shirley Crabbe is a remarkably-gifted vocalist. Her agile, luminous voice is ideal for this kind of Romantic and Gospel fare – some of which she has written herself – and she sings with power and great subtlety, superbly matched by musicians from pianist Donald Vega, David Budman, bassist Clovis Nicholas, drummers Ulysses Owens Jr., Alvester Garnett, trumpeter Brandon Lee and the strings quartet…
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