Soul-Sound für den Seelentrost

abgehört

Omar, CD: Best by far (Epic). Der Engländer war Wegbereiter der New-Soul-Welle. Nachdem er aber ein paar Jahre pausierte, ist Omar ein wenig in Vergessenheit geraten. Was sich mit diesem Album wieder ändern dürfte. Denn das zeigt, dass er sowohl den neuen Stars wie D'Angelo, Erykah Badu oder Angie Stone (singt mit Omar das Duett "Be thankful") als auch Soul-Klassikern wie Steve Wonder (der Omar als seinen Nachfolger sieht) ebenbürtig ist. Wirklich Musik mit Seele.

Quelle: berlinonline.de

Das gleiche gilt auch im Fall von Omar. Weil seine Songs für Talkin Loud zu vertrackt waren, wurde der Musikstudent jamaikanischer Herkunft schon Mitte der Neunzigerjahre an RCA abgestoßen. Der Hipsterbonus nützte ihm beim Major wenig: Als sich "This Is Not A Love Song" trotz Gast-Rap von Ol' Dirty Bastard nicht verkaufen ließ, wurde Omar gekündigt. Jetzt ist seine CD "Best By Far" auf dem Pariser Nachwuchslabel "naive" erschienen. Den Star der Stunde hat sich Omar clevererweise gleich mitgebracht: wer außer Guru's Jazzmatazz kann schon Erykah Badu einladen, damit sie Backings singt?

Dabei ist die gemeinsame Coverversion "Be Thankful" - das Lied zum Striptease-Video von Massive Attack - nur eine bescheidene und spärlich arrangierte Stilübung mit Blick in Richtung Disco. Ein bisschen Gejohle, ein wenig "in the back", dazu der aus den 80er-Jahren herüberknurrende Bass: "This is how we do it", wie Omar zwischendrin dauernd vor sich hin schwärmt. Offenbar ist der Mann ziemlich überzeugt davon, dass echte Schönheit bloß independent zu haben ist. Warum sollte er sich sonst auf dem Cover mit einer selbst zusammengelöteten Krone abbilden?

Vielleicht stimmt aber am Ende doch wieder die Einschätzung von Peterson. Für den Markt ist Omar in seiner Melodieversessenheit eine Spur zu überdreht, in die Indie-Ecke passt sein kunstvoll ornamentierter Soul auch nicht recht. Ohnehin sind schwarze Musiker fürs Geschäft noch immer erst attraktiv, wenn sie sich wie R. Kelly als erfolgreiche Aufsteiger von der Straße vermarkten lassen. Omar merkt man dagegen stets die bürgerliche Bildung an, vom Klavierunterricht bis zur geschmackssicheren Wahl der Samples. Im HipHop wäre ein säuselnder Burt-Bacharach-Chor - zumal mit begleitender Bassklarinette! - extrem verboten. In Paris braucht ihn die fehlende Authentizität allerdings nicht weiter zu stören: Wo die Straßen alle paar Stunden gefegt werden, zählt auch Streetcredibility nur, wenn sie gepflegt auftritt.

Quelle: taz 2000/12

Omar + support In kader van het Europa UK Festival i.s.m. Lantaren Venster presenteert Nighttown:

Omar + support
After a five-year recording hiatus - during which time he’s built his own studio, set up his own label and been touring like a madman – the one and only Omar is back.

Sing [If You Want It], released this year on Ether Records, the British soul supremo’s sixth and perhaps funkiest album so far. Featuring guest appearances from Stevie Wonder, Angie Stone, Common, Estelle, Rodney P, JC Bentley, Canitbe and Ashman, and with additional production from Omar’s brother, Scratch Professor, it’s a brilliant collection of music that manages to break new ground for the artist, yet at the same time re-establishes that unmistakable, unique Omar signature sound with his army of fans.

On the last album, Best By Far, I was very influenced by soundtracks and Latin jazz,” explains Omar. “This time I wanted something a bit more funky, something to put my music back in the clubs. I still use the live instruments and the strings when I feel them, ‘cause that’s me, but the kick and the snare are much louder this time. That’s why my brother’s more involved, ’cause he’s great with those hip-hop beats.”

It is, of course, a major coup for any UK recording artist to be able to call on the services of a musical legend like Stevie Wonder. The simple truth is that Stevie has been a fan of Omar’s music since he first heard There’s Nothing Like This back in 1992 – the same year he promised to write Omar “his first number one”.

http://www.omarmusic.net/

The Sweet Sound of Roberta Gambarini

Published: March 12, 2004

Quelle: www.allaboutjazz.com

Roy Hargrove Quintet + The Roberta Gambarini Quartet @ Town Hall (Friday, March 5th, 2004)
Posted: 2004-02-21

The Roy Hargrove Quintet

featuring...
Roy Hargrove (trumpet/flugelhorn); Justin Robinson (alto); Ronnie Mathews (piano); Dwayne Burno (bass); Willie Jones III (drums)

PLUS

The Roberta Gambarini Quartet

featuring...
Roberta Gambarini (vocals); Eric Gunnison (piano); George Mraz (bass); Victor Lewis(drums)

The Town Hall is located at:
123 West 43rd Street (6th Avenue/Broadway)
212-840-2824 (box office)
8:00pm
$35/$30

Grammy Award winning Trumpeter/composer ROY HARGROVE has established a reputation as one of the most versatile and hardest working trumpeters in jazz. His resume includes eleven albums as a leader in the more straight ahead Jazz vain, and over the last several years Hargrove ventured into a different world: in 2000 he appeared with D'Angelo (Grammy-winning Voodoo album and tour), and made guest appearances on albums by Erykah Badu, Common and the Red Hot AIDS awareness organization (Red Hot + Riot). In May of 2003 Hargrove released The RH Factor: Hard Groove (Verve), featuring D'Angelo, Erykah Badu, Steve Coleman, Anthony Hamilton, Karl Denson, Q-Tip, Common and many others.

The incomparable, soul-infused fire & rain sound belonging to the 34-year old trumpeter was harvested at a very young age. Born in Waco, Texas on October 16, 1969 and inspired by Gospel, R&B and funk, Roy began learning the trumpet in the fourth grade. A prodigy - Roy was already playing at an advanced level of proficiency by the time he reached junior high school. By 16, he was studying music at Dallas's prestigious Booker T. Washington School for the Visual and Performing Arts (fellow alumni: Erykah Badu & Norah Jones). Midway through his Junior year, Wynton Marsalis came to the school to do a clinic/workshop for the students. Greatly impressed by his skills, Wynton invited Roy to sit in with his band at Ft. Worth's Caravan of Dreams Performing Arts Center. This led to Roy being invited to play at the Caravan of Dreams with the bands of Freddie Hubbard, Dizzy Gillespie, Bobby Hutcherson and Herbie Hancock, which resulted in Roy being invited to the North Sea Jazz Festival and several other European festivals, later that summer.

During his 1988 stint at Boston's Berklee College of Music, Roy began hitting New York jam sessions and gigging with Bobby Watson, Mulgrew Miller, Walter Booker, Ronnie Mathews, Jimmy Cobb, Idris Muhammad and recorded with Superblue and Bobby Watson. In 1990 he released his major label solo debut, RCA/Novus's Diamond In The Rough. Three albums/years later, Roy released his Verve debut, the critically acclaimed With the Tenors of Our Time (featuring Joe Henderson, Stanley Turrentine, Johnny Griffin, Joshua Redman and Branford Marsalis), following suit with Family.

During his 1996 trip to Cuba, Roy recruited some of the island's finest players (including piano legend Chucho Valdes), and recorded the Afro-Cuban jazz landmark and Grammy winning, Habana. In 2000, Verve released the beautiful string driven ballad record, Moment to Moment, moving him into what critics have termed his “most romantic period.”

In 2003, Hargrove joined forces touring and recording with Herbie Hancock & Michael Brecker for Directions In Music, eventually taking home the Grammy for Best Instrumental Jazz Album for the homage paid to the legacy left by John Coltrane and Miles Davis.

The world-renowned Hargrove always makes sure the music is moving in a positive and real direction, with the capability of taking you to the higher ground with just one note. Through his tonality and unique sensibility, Roy Hargrove stands as an inspiration for young musicians in all genres of music - while never forgetting to pay respect to the giants who walked before him. Simply beautiful.

Born in Torino, Italy into a family where jazz was very much appreciated and loved, ROBERTA GAMBARINI started listening to this music as a child. She began singing and performing at the age of 17 in jazz clubs around Northern Italy, leading to performance opportunities at jazz festivals throughout Italy and Europe.

In 1998 she moved to the United States with a scholarship from the New England Conservatory in Boston. In October of the same year she was a finalist at the Thelonious Monk International Vocal Competition in Washington, D.C. Shortly after this she moved to New York City, where word of her stunning talent began attracting attention far and wide. She soon found herself recording, performing, and collaborating with many of the most respected artists in the world of Jazz, at some of the most important venues around the U.S and abroad.

The list of artists have included: Herbie Hancock, Hank Jones, Chucho Valdes, Eric Gunnison, Toots Thielemans, Clark Terry, Michael Brecker, Johnny Griffin, Roy Hargrove, Billy Higgins, Jimmy Heath, Percy Heath, Albert “Tootie” Heath, Slide Hampton, Frank Wess, Ron Carter, Harold Land, Curtis Fuller, Cedar Walton, Ronnie Mathews, Bobby Hutcherson, Nils Henning Oersted Pederson, James Moody, Lionel Hampton, Christian McBride, George Mraz, Jimmy Woode, Dennis Irwin, Jimmy Cobb, Al Foster, Willie Jones III, Alvin Queen, Karriem Riggins, Russell Malone, John Clayton, Jeff Hamilton, Dado Moroni, Renato Chicco, Monty Alexander, John Hicks, among countless others.

One of Roberta's most ardent supporters was the late Benny Carter, who had been her musical hero since childhood. After hearing Roberta on a CD, he arranged to meet Roberta in Los Angeles. So impressed was Benny with her musicality, that he took a personal interest in spreading the news to his friends and colleagues, even arranging some performances so she could be heard in Los Angeles. Being that Gambarini loved his music so much, he graciously agreed to make his compositions and arrangements available to her. Benny and Roberta continued close communication, and were actively planning some projects at the time of his passing at 95 years of age in July 2003.

The list of venues is equally impressive: Multiple appearances at Monterey Jazz Festival, North Sea Jazz Festivals (Den Hague, Netherlands and Cape Town, So. Africa), JVC Jazz Festival (NYC, Umbria Jazz Fest. - Perugia, Italy); Lionel Hampton Jazz Festival - University of Idaho, Jazz Plaza Festival (Havana, Cuba , Teatro Nacional - Teatro Amadeo Roldan, Havana, Cuba Molde Jazz Fest - Molde, Norway, Bern Jazz Fest (Bern Switzerland), Conertgebouwe, Brugge, Belgium, Ton Halle - Zurich, Switzerland, Tanglewood and Berkshire Jazz Festivals, - Massachusettes, Jazz Festivals- Brescia, Italy, Catania, Italy, Cala Ganone, Sardinia, Teatro Manzoni - Milano, Italy, Victoria Hall - Geneva, Switzerland, Toronto, Canada - Murcia, pain, - Terrassa, Spain, - Clermont - Ferrand, France. - Odense, Denmark,- Linkopping, Sweden, Concertgebowe - Amsterdam,-Bimhuis, Amsterdam, Tchaikovski Hall-Moscow, among many others.

While performing at the Umbria Jazz Festival in Perugia, Italy, Roberta met Chucho Valdes who invited her to perform with him at the Havana Jazz Festival in December 2000, and again at the 2002 Festival. Since that first meeting, Chucho and Roberta have forged a striking rapport, while performing together in venues in the USA and abroad; New York City's The Jazz Gallery and most recently at the Jazz Festival in Manerbio, Italy, in November 2003, among others.

Visit website

Quelle: www.allaboutjazz.com

Though long a fixture on the European jazz scene and more recently in New York as well, Italian-born singer Roberta Gambarini is just now getting her U.S. label debut with Easy To Love, an apt description for this collection of standards.

"Gambarini is an almost improbably complete singer. Her warm, velvety tone and scat-singing facility recall Fitzgerald; her near-flawless pitch and vast range are reminiscent of Vaughan; and her impeccable diction and the salty spin she puts on vowels conjure the young McRae. . . . Among the greatest of her gifts is her taste, which keeps her virtuosity in service to the music." -- Kevin Lowenthal, The Boston Globe

Easy To Love
Writer: Cole Porter
Performer:  Roberta Gambarini (Singer) 2.  Only Trust Your Heart
Performer:  Roberta Gambarini (Singer) 3.  Lover Man (Oh, Where Can You Be?)
Writer: Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
Performer:  Roberta Gambarini (Singer) 4.  On The Sunny Side Of The Street
Writer: Jimmy McHugh / Dorothy Fields
Performer:  Roberta Gambarini (Singer) 5.  Porgy, I's Your Woman Now / I Loves You, Porgy
Performer:  Roberta Gambarini (Singer) 6.  Lover, Come Back To Me
Show: New Moon, The
Performer:  Roberta Gambarini (Singer) 7.  Two Lonely People, The
Performer:  Roberta Gambarini (Singer) 8.  Centerpiece
Writer: Harry "Sweets" Edison / Jon Hendricks
Performer:  Roberta Gambarini (Singer) 9.  Guess I'll Hang My Tears Out To Dry
Writer: Jule Styne / Sammy Cahn
Performer:  Roberta Gambarini (Singer)
Note:  With James Moody. 10.  No More Blues
Performer:  Roberta Gambarini (Singer) 11.  Smoke Gets In Your Eyes / All The Things You Are
Performer:  Roberta Gambarini (Singer) 12.  Too Late Now
Performer:  Roberta Gambarini (Singer) 13.  Multi-colored Blue
Performer:  Roberta Gambarini (Singer)
Note:  Bonus track. 14.  Monk's Prayer / Looking Back
Performer:  Roberta Gambarini (Singer)
Note:  Bonus track.

Living Legend Hank Jones at Harlem Speaks at The Jazz Museum in Harlem June 29
Posted: 2006-06-27

The Jazz Museum in Harlem
104 East 126th Street
New York, NY 10035
212 348-8300
http://www.jazzmuseuminharlem.org/

Living Legend Hank Jones at Harlem Speaks

Hank Jones, Pianist
June 29, 2006

One of world's greatest pianists, Hank Jones, is the special guest of Harlem Speaks on June 29, 2006. Born Henry W. Jones in 1918 in Mississippi, but raised in Pontiac, Michigan, Jones received classical piano training from Charlotte Franzell during his childhood.

By the age of 13, he was already performing with territory bands, and by 1944 he moved to New York at the recommendation of Lucky Thompson, to join the band of Hot Lips Page, with whom he made his first recordings for the Continental label.

While freelancing with Andy Kirk, Billy Eckstein, John Kirby, Coleman Hawkins and Howard McGhee, Jones developed his own style. Freely mixing the newer idioms of Bud Powell and Al Haig with that of his main mentor, Art Tatum, Jones rose quickly to the top shelf of jazz pianists.

In late 1947, he joined the Jazz at the Philharmonic, and from 1948 to 1953 he became the pianist for Ella Fitzgerald. During this period Jones also made several recordings for Norman Granz's various labels, including historical sessions with Charlie Parker and Lester Young. After leaving Ella, he formed a steady rhythm section with Barry Galbraith, Milt Hinton and Osie Johnson. This unit recorded with some of the finest talent in New York at the time, like Roy Eldridge, Lionel Hampton, Milt Jackson, Rex Stewart and many others.

After several years as a freelance player, including a brief stay with Benny Goodman (1956) and Artie Shaw, Jones joined the staff of CBS records, where he stayed for the next seventeen years, until the staff was disbanded in 1976. During this period he worked with large studio bands, performing on some of the top radio and TV programs, such as the Ed Sullivan Show, but continued to lead jazz groups (mostly trios) through the eighties, showcasing the talents of Ron Carter, Buster Williams, or George Duvivier on bass and Tony Williams, Al Foster, or Oliver Jackson on drums. His recordings fronting The Great Jazz Trio were multi-awarded in Japan, where he is almost a “national hero”. During this period, Jones also did important duo recordings with fellow pianist Tommy Flanagan.

During the nineties Jones has been leading his own trios featuring some of the finest young musicians in the world, like drummers Marvin ”Smitty” Smith, Lewis Nash or Kenny Washington, and bassists like Ray Drummond and George Mraz. His music is in great demand as the years go by, and he does an average of 70 concerts a year overseas, mostly in Japan and Europe, on top of his busy agenda at home.

Hank Jones is regarded today as the father of contemporary Jazz piano, and his influence can be heard in the work of most every jazz pianist in the world: the so-called Detroit Piano School is, in fact, the Hank Jones School, and musicians such as Barry Harris, Kenny Barron or Tommy Flanagan regard Hank Jones as a strong influence on their careers.

The June 8, 2006 guest, Olu Dara, was greeted by many fans and admirers, who came to hear the free-spirited multi-instrumentalist discuss his life and career.

And spirited the conversation was, in many ways. With deep humor he talked about his upbringing in various small towns in Mississippi, where his family tilled the fields as farmers. The oldest of seven, Olu began playing clarinet and performing for audiences at the age of 7. In addition to the customary blues of the deep South, he recalled hearing opera, and his father sang in a style reminiscent of Paul Robeson.

Olu was introduced to the cornet by an unlettered gentleman who, in almost mythological fashion, showed up in his small town one day and asked for a place to stay. His family obliged, and the man--who spoke six languages and played just about every instrument--began to teach him to play cornet.

He told Olu to blow into the mouthpiece as if he were blowing into a balloon. Once he got that down, he had Olu attach the remainder of the horn and form tones. Soon thereafter, the auto-didact genius played what turned out to be the bridge to Ellington's “Sophisticated Ladies” and told Olu to play it. He did.

The next day he showed Olu the sheet music to the tune, a brilliant introduction to sight reading, and Olu understood immediately.

Although Harlem Speaks is a discussion series, Olu performed by singing and humming tunes significant to his development as a musician. For instance, he recalled hearing Lee Morgan on John Coltrane's Blue Train recording as a college student, which changed him forever. “I felt as if I knew Morgan,” he recalled.

He even stood up and did the hambone of his young days, performing for white folks for some change.

A very poignant moment when he mentioned his grandmother's singing while holding him on her lap. After Greg Thomas, the interviewer, asked him to sing in his grandmother's style, he hesitated. “I thought this was supposed to be just an interview, not a performance,” he joked. But then he closed his eyes, and began humming and moaning and brought the spirit and memory of his grandmother to the proceedings.

Suddenly, struck by the memory, he put his hands to his face and began to weep.

For the next two hours he recalled his college days at Tennessee State University, leaving there before graduating and entering the Navy for four years, traveling the world on “secret missions,” coming to New York and Harlem, beginning his family, and playing with Art Blakey and the Jazz Messengers in the early '70s. “Blakey was a master, the best band leader I've ever had. I found my voice, my identity with him because he gave me the freedom to be myself.”

As did choreographer Diane McIntyre, who simply told him to play the piano one day, not even asking he if knew how. She believed in him implicitly.

After playing with Blakey Olu began playing so-called “free jazz,” but was brought back down to earth one day when his son, Nas, then 7 years young, said: “Daddy, that sounds like background for a horror film.” From that point on, he stayed firmly within the groove of his own unique mix of blues, jazz, and sounds from music across the world.

The bi-weekly Harlem Speaks series is produced by the Jazz Museum in Harlem's Executive Director, Loren Schoenberg, Co-Director Christian McBride, and Greg Thomas Associates, and takes place at the offices of the Jazz Museum in Harlem, located at 104 East 126th Street, between Park and Lexington Avenues, from 6:30pm-8:00+pm.

Visit website

Eric Wainaina
Sawa Sawa

© 2001 Eric Wainaina, Christian Kaufmann

"To Kenyan Youth Eric's the greatest" (Nation Newspapers April 1999).

Eric Wainaina is taking East African music to new heights. His influences include local Kenyan musicians and artists of world renown like Paul Simon, Papa Wemba, Youssou N'dour and Lokua Kanza.

His music is a blend of Kenyan Benga rhythm and East African guitar styles with Western Harmony.

He toured Europe and the U.S. several times. His performance at Kenya's 'Beats of the Season' in December 2000 was watched live by 15,000 fans and broadcast nationally.

In 2002 got nominated for the highly acclaimed 'Kora Awards'. His live performance was broadcast to 400 million viewers in 78 countries. That night he took home the trophy for Best East African artist.

His album "Sawa Sawa" is continuing to receive daily airplay in Kenya since 2001.

He began his career with the gospel A Capella group '5 Alive' in 1992 who were instumental in paving the way for Kenya's fledgling modern music industry.'5 Alive' toured Switzerland, the UK and Northern Ireland and opened for Barry White and 'The Pasadenas' in Nairobi,Kenya in 1995. The group disbanded in 1997.

After the 1998 bomb blast at the US Embassy in Nairobi, Eric's tune 'Kenya Only' was adopted as the unofficial song of mourning and received extensive radio and T.V. airplay. He performed the song on national T.V. in the presence of the President and the former First Family on the occasion of the commemoration of the death of Kenya's first president.

In 1999 Eric started working together with producer Christian Kaufmann on a recording project called 'Sawa Sawa', an endeavor that would change the Kenyan musical landscape forever.

His adaptation of a Kikuyu folk tune 'Ritwa Riaku' has been added to the playlist of every radio station in Kenya.

He received the MNET (South Africa)favourite male vocalist Award in February 2001.

Eric Wainaina's career has just begun and his reach will be far and wide.He is truly a man to watch.

SAWA SAWA

'Sawa Sawa' is Eric's solo debut. It is a culmination of 3 years of writing. It features several collaborators including the producer and co-writer of the record, Christian Kaufmann, Salmon Kitololo, Ali Makunguru and Ben Wainaina.

The record embodies Eric's search for identity in artistic expression. The material is in three languages: Swahili, Kenya's national language, English and Kikuyu and cleverly blends East African rhythm with western harmony.

'Sawa Sawa' the title track of the album is a mid tempo 'pop' tune predominantly in English. Midway through the tune it takes a left turn and heads off into benga with guitar lines that are rhythmic and imaginative.

'Bolingo' has its roots in benga and lingala. Built on three chords it is a dance tune with a happy rhythmic groove.

The album features four spoken interludes written and performed by Kenya's leading comedy act, Reddykyulass. Their content is highly politically charged.

'Nchi ya Kitu Kidogo' is a parody on the atmosphere of corruption prevalent in Kenya's public sector. This song is currently receiving extensive airplay in Kenya.

'Who is to Blame' is arguably the flagship of this album. Written by Eric, Christian Kaufmann, Salmon Kitololo and Ali Makunguru this song marries Ali's mature guitar skill with an amazing vocal performance by Eric and percussion wizadry by Matthias Kunzli and Rich Stein. It is a favorite among the many who have purchased this record.

'Ritwa Riaku' is an adaptation of a Kikuyu folk song.It has received extensive airplay in Kenya over the last two years.

'Usiku was Manane' is a guitar-driven tune highly reminiscent of Paul Simon's Graceland.

'Daima' is the Swahili version of 'Kenya Only'. It is a pacesetter as far as combining an African vernacular language with full orchestration.

'Mashaka' is the oldest song on the record. Written 8 years ago for 5 Alive, Mashaka became the groups most loved song. It is a dance song in English and Swahili and always gets a crowd going.

This record is a great success and will soon be recognised on a worldwide scale for its excellence.

1. Sawa Sawa
2. Bolingo
3. Kitu Gani Hii (featuring Reddykyulass)
4. Nchi ya Kitu Kidogo
5. T.A.V. (featuring Reddykyulass)
6. Who is to Blame?
7. Ritwa Riaku
8. Unataka Gani? (feat.Reddykyulass)
9. Usiku wa Manane
10. Daima
11. Dear Parents (feat. Reddykyulass)
12. Mashaka

For more information please visit:


http://en.wikipedia.org/wiki/Eric_Wainaina_(musician)

• www.christiankaufmann.com

Dieses holländische Oktett um den Saxophonisten Benjamin Herman besteht seit über 8 Jahren. Die Musik ist eine optimale Mischung aus Latin Grooves, DJ Beats und energetischem Jazz und wird die Unterfahrt sicher zum Kochen bringen. Das ist die zeitgenössische Variante tanzbarer Latin-Jazz-Music.

www.munich-salsa.de

The North Sea Jazz Festival in Rotterdam is in full swing and only a 20 minute combined walk and subway ride away
Day 1 was already a success from the start. Jamiroquai opened the dance and he and his band gave a great performance. His appearance at the NSJF about 12 years ago was memorable, but a couple of years later he botched it during a poor performance after he lost the MTV awards against Oasis, and now he re-established himself as an excellent performer.
Next up was Alice Russell, whose voice is lovely, but the violin kicking in during the second song made us flee the scene.
Then we tried listening to the Clarke/Duke Project, but they made my ears burn and not in a good way.
We knew that Benjamin Herman (of New Cool Collective fame) wouldn't let us down and he didn't. They did a kind of free jazz gig with bass, drum (only a snare!), guitar and saxophone and they made it interesting.
We expexted a lot from Roy Hargrove's Quintet and they kept this promise with a tight set of slow jazz of a high technical standard.
We wanted to finish the first day with some old school disco and soul from Candi Staton, but the band played uninspired and the room was way too big to create a nice atmosphere. A shame.
Because we didn't want to leave just yet, we tried out the Belgian big band Flat Earth Society, but it seemed as they played together for the first time ever, so we just had to leave.
On the way out we walked through the venue where Al Jarreau was performing only to have confirmed that he is well past his prime.

On Day 2 we started out with African bass player Richard Bona and listened to some interesting African rhythms.
Because my buddy is a sax player and likes big bands we left Bona after 20 minutes and went to see the Rotterdam Jazz Orchestra to hear their full set. The cool thing is they have a residency one Sunday each month in a restaurant/bar/club at 5 minutes walking distance from my house
Next stop was Sergio Mendes, and we came in half way and afterwards we wished we'd have been there for the whole set, because it just totally rocked ... ehm, swung. This is definitely one of the highlights of this year's festival, for sure.
We were also able to catch a few jazz standards by the McCoy Tyner All Star Septet, so we have seen at least one still living legend.
After this we tried to get into the venue where Raul Midon was playing, but there was a huge line outside already; guess that must have been nice too ... actually, we did catch the closing notes
Then we waited 30 minutes in this venue to watch Donnie, someone who I anticipated much, but it was too hip-hop for my mate so we left for Tower Of Power.
Now them I have seen numerous times and the set they played was very very similar to all the concerts I heard before. And the fact that it was loud as hell (too loud) I left to catch Donnie closing.
After Tower Of Power finished we went to see Omar, also someone who I loved seeing, because I had never seen him live before, but again this was too hip-hop for that vague acquaintance I am going to the NSJF with, so we decided to go see Leela James.
In last year's version she made her breakthrough with a compelling show in a tiny, club-like venue and now she played the biggest forum and still she owned the place. Solid stuff, if you have a chance to see her, go!
To complete this day in full circle the last gig we attended was the New Cool Collective, with additional band members from Nairobi, Kenya. As always the band was in top form and every time we go see them we keep being amazed by the level of playing and the fact that they still are not world famous, which they should be.

Day 3 was kicked off with The RH Factor, the soul/funk band of Roy Hargrove and what a excellent group of young and promising musicians he collected around him. Especially the drummer made a huge impact, Mr. Jason Thomas, who gave a most impressive drum solo. (I know most people will go but his solo was amazing in every way, never heard anything like it!)
Without leaving our bleacher the next artist was Marcus Miller, with his signature slapping bass style ... and for the encore he took out his baritone clarinet.
Then we had to wait for miss Erykah Badu to fit her giant ego before she could grace us with a quality performance. Because she started 30 minutes late her show was cut short after only 50 minutes, which was a shame because she was just about to get into it. Ah well, guess this was the last time the organization has invited her, because the first time she performed she had a few antics as well. Too bad, she doesn't need all that drama

Next stop was mod superman Paul Weller, who gave an energetic show that didn't really belong at a jazz festival, but some songs he spiced up with horns, played by the core of the New Cool Collectve. And he played You Do Something To Me, which always is a special moment.
Last performance would be Kanye West, but because the bling bling, ho-pimp factor was pretty high we escaped to see Jhelisa. She puts on a haunting show with her awe inspiring stage presence and her band members were top notch as well.
Before heading home we stepped into the Kanye West show after all and he was in the middle of ranting against performers who didn't acknowledge the fact he wrote them hits (this is what prevents him from becoming a leading figure in hip hop, because he is about 20 times more talented than P Diddy and Jay-Z and whonot, musically), but right after that he did Through The Wire and Golddigger and that just blew the house down.

Quelle:

http://rwirtz.deviantart.com/

NSJF 2004

http://www.allaboutjazz.com/php/article.php?id=14558

CD-ANKOOP

Mein Händler in DELFT hatte einen Sonderverkauf fuer AJ organisiert. Jede CD nur 5,- Euro. Was fuer ein fairer Preis!

PLAYLAND

lange geer 72

2611 pw delft

015 2135024

THE BOPPERS

Tolle Cover-Versionen: Siehe unten!

CLARE TEAL

Orsino´s Songs

HEALER OF MY SPIRIT

DUTSCH SWING COLLEGE
BAND

AL GREEN: Everythings o.k.

JOHN SCOFIELD QUARTETT

MEZZOFORTE

THE BOPPERS
Sweden


UNPLUGGED FAVORITES (1992)


http://www.boppers.se/sidor/lyrics/unplugged.htm

1. Wake up little Suzie

2. Runaround Sue

3. Under the boardwalk

4. That´s allright mama

5. Tennesee waltz

6. Hang on Sloopy

7. Kissin´ in the moonlight

8. His latest flame

9. Heaven

10. My love for you

11. Hallelujah i love her so

12. Take good care of my baby 13. Cottonfields

14. Stand by me

15. Boppin´ the blues - Mr Bassman

16. Goodnight sweetheart

ROCK´N´ROLL

LIVE'N'ROLL (1982)

http://www.boppers.se/sidor/lyrics/live.htm

1. Rama lama ding dong

2. Do that boppin` jive

3. Rock´n roll age

4. I`m in love all over again

5. Heartaches

6. Hats off to Larry

7. Little darlin´

8. Runaway

9. Holy cow (what´s goin` on around here)

10. Walk don´t run
11. Oh, baby
12. Cool it baby
13. TV-hop
14. Do you love me
15. At the hop
16. Sixteen candles

Dieses holländische Oktett um den Saxophon

PHOTOARCHIV

B&B ROTTERDAM

http://www.stammeshaus.com

Lomography.NL

Willem Buytewechstraat 206 c
Rotterdam 3024 VL
Netherlands
Phone: +31 6 22953562Fax: +31 10 4258885

Voorhaven 47 a-b
Rotterdam 3025HD
Netherlands
Phone: +31 10 4254356Cellular: +31 6 18326685

P.s.

Stand in Rotterdam im VOLVO vor dem

stattlichen Headquarter von CENTERPARCS!?

Kostenlos. Gratis. Mein Motor blies die

Matratze auf und schon war um 5 der Schlaf

gekommen.