Paul Collins Artist Management International: PCAMI* News
PCAMI* Welcomes Frankye Kelly! - July 15, 2008
FOR IMMEDIATE RELEASE
JULY 15, 2008
PAUL COLLINS
816.377.1950
PCAMI* is proud to announce the addition of Frankye Kelly, jazz vocalist, songwriter and band leader to our prolific musical family.
Frankye Kelly lives in San Francisco, California and is one of the top jazz vocalists in the Bay Area. She has over 25 years of national and international experience touring and performing in the music business. She has performed in China, Bangkok, Japan, France, Europe, Mexico and the USA, at some of the most prestigious venues and festivals in her home state of California and at some of the premiere luxury hotels around the world. Frankye has three critically acclaimed CD’s on the market and is currently putting the finishing touches on her fourth highly anticipated CD project to be released later this summer. She is cousin to the late great and Grammy Award Winning blues vocal guitar legend, Albert Collins.
“I am extremely happy to be working with Frankye. There are a lot of exceptional jazz vocalists in the global marketplace who I love to listen to and support. Frankye is someone who has continued to grow musically and attract new audiences by working hard to bring her best music to the global market. She is a great personality, respected band leader, songwriter and has a beautiful voice. She is creative and well spoken of by the musicians, club owners, artistic directors and peers that work with her. We are proud to have her on our team”, says Paul Collins, the music impresario from Kansas City, Missouri.
Catch Frankye Kelly’s “live” performance at Yoshis’ in Oakland, California Tuesday, August 19, 2008 starting at 8:00pm
For exclusive interviews, additional information or to schedule performances, contact PCAMI* @ paulcollins@paulcollinsartistmanagement.com or call 816.377.1950 Visit our website @ www.paulcollinsartistmanagement.com ###
JULY 15, 2008
PAUL COLLINS
816.377.1950
PCAMI* is proud to announce the addition of Frankye Kelly, jazz vocalist, songwriter and band leader to our prolific musical family.
Frankye Kelly lives in San Francisco, California and is one of the top jazz vocalists in the Bay Area. She has over 25 years of national and international experience touring and performing in the music business. She has performed in China, Bangkok, Japan, France, Europe, Mexico and the USA, at some of the most prestigious venues and festivals in her home state of California and at some of the premiere luxury hotels around the world. Frankye has three critically acclaimed CD’s on the market and is currently putting the finishing touches on her fourth highly anticipated CD project to be released later this summer. She is cousin to the late great and Grammy Award Winning blues vocal guitar legend, Albert Collins.
“I am extremely happy to be working with Frankye. There are a lot of exceptional jazz vocalists in the global marketplace who I love to listen to and support. Frankye is someone who has continued to grow musically and attract new audiences by working hard to bring her best music to the global market. She is a great personality, respected band leader, songwriter and has a beautiful voice. She is creative and well spoken of by the musicians, club owners, artistic directors and peers that work with her. We are proud to have her on our team”, says Paul Collins, the music impresario from Kansas City, Missouri.
Catch Frankye Kelly’s “live” performance at Yoshis’ in Oakland, California Tuesday, August 19, 2008 starting at 8:00pm
For exclusive interviews, additional information or to schedule performances, contact PCAMI* @ paulcollins@paulcollinsartistmanagement.com or call 816.377.1950 Visit our website @ www.paulcollinsartistmanagement.com ###
Roberto Magris Interviewed by Marc Myers @ Jazzwax.com - May 23, 2008
May 23, 2008
Marc Myers is a New York journalist and historian. His thoughts on jazz and jazz recordings appear here daily.
An e-Chat With Roberto Magris
Few European musicians have as much adoration and reverence for the American jazz tradition as the Italian pianist Roberto Magris. Enormously curious about American culture and always eager to reinterpret neglected standards, Roberto loves performing with American jazz legends, and he brings a special sensitivity to every song he plays. Roberto's passion for jazz legends and jazz history continues to grow. His forthcoming album, Kansas City Outbound, features legendary bassist Art Davis, who died in July 2007 shortly after the album was recorded.
My favorite Roberto Magris album up to now has been Il Bello Del Jazz, which was recorded in 2003 but wasn't released until 2006. What makes this CD so special is the teaming of Roberto and the legendary alto saxophonist Herb Geller. Recorded in Roberto's home town of Trieste, Italy, everything about this album is fabulous and exciting. In addition to a handful of originals by Roberto and Geller, the album includes terrific standards including Benny Carter's Key Largo and Stephen Sondheim's Pretty Women. These two musicians together sound magical.
Roberto and I struck up a friendship several months ago via email after Roberto sent along his unreleased solo piano recording. Yesterday I e-interviewed Roberto, who's back in Trieste [pictured] after performing at a festival in Bucharest, Romania. He ruminated on why jazz is interpreted differently in various parts of Italy and reflected on one-time bandmates Herb Geller, Kai Winding, Eddie "Lockjaw" Davis, Sal Nistico and Art Davis. He also provided details about his soon-to-be released CD, an impressionistic tribute to Jay McShann and Kansas City jazz:
JazzWax: Is there a distinctly Italian approach to jazz?
Roberto Magris: Yes, I think so. But I am more of a Middle-European jazz musician than a purely Italian one. My musical experience took place not only in Italy but also in Austria, Hungary, Slovenia, Czechia and Germany. Before the Iron Curtain came down, there was a unique jazz stream from those countries that I experimented with, and I was one of the few Western musicians to play concerts there and collaborate with local jazz musicians on a regular basis. So I tend to identify with Central and Eastern European musicians, especially saxophonist Tony Lakatos, one of my favorites.
JW: What exactly sets you apart from mainstream Italian jazz musicians?
RM: I think I have a special sense of dancing melodies, a more rhythmic approach and the tendency to be more of a risk-taker in solos within the harmonic frame. Actually, the jazz scene in much of Italy tends to be orientated toward experimental jazz, with some exceptions, of course, like trumpeter Enrico Rava and pianist Enrico Pierannunzi. So, I don't feel completely connected to the Italian jazz scene. I'm from Trieste, on the Adriatic Sea, and feel I have greater connection to traditional American jazz played in Central and Eastern Europe.
JW: Alto saxophonist Herb Geller played on your 2006 release, Il Bello Del Jazz. He rarely plays in the U.S. now. Why do you think that is?
RM: My impression is that Herb doesn't like to travel too far from Hamburg, Germany, where he lives. He has played in California from time to time over the last few years. But for the most part, he feels very comfortable in his new hometown, where he's highly respected, loved and appreciated. I think Herb would be open to returning to the U.S. to play if a good festival invited him. At this point, he's a grandmaster who simply likes to communicate with his sharp but sweet sound.
JW: Because Herb has been gone from the U.S. scene for some time, he's a bit of mystery to many fans here. What's he like?
RM: He is a gentleman, a very nice guy, full of anecdotes and stories. He still remembers all of his small group and big-band gigs. He remains saddened by the sudden death of his wife, Lorraine [pictured], in 1958, and the passing of close friends like Scott LaFaro and Clifford Jordan. I was especially surprised to see how proficient he was on the computer.
JW: How so?
RM: Herb collects standards and transcribes them into his computer. He has a huge, impressive collection. It's like a massive computerized fake book. He's particularly keen on compositions by Billy Strayhorn and Benny Carter. Herb is always open to new things, provided they are within the jazz tradition. He especially likes melody and rhythm, and doesn't care much for modal jazz. He's really a treasure, and I cannot understand how he can be so renowned yet underrated at the same time. [pictured: Roberto and Herb Geller]
JW: Are there other legends you'd like to play with?
RM: Oh sure. Yusef Lateef, James Moody, Lee Konitz, Charlie Mariano and Jimmy Heath, for starters.
JW: In the early 1980s, you played with Kai Winding, Eddie "Lockjaw" Davis and Sal Nistico—who were nearing the end of their careers. What were they like?
RM: Kai Winding was a real gentleman but he was already ill. Despite being sick, his playing was beautiful and his phrasing was elegant. I believe I played behind him during his last concert. He died just a short period after that in 1983. "Lockjaw" [pictured] was always dressed out of this world. I still remember his funny personal taste for elegant clothes. Nistico had very hard problems with drug addiction, even though his playing was very good. He was on a continuous trip. I remember he was interested only in getting drugs between the concert sets.
JW: When is your new CD coming out?
RM: Kansas City Outbound (Soul Note) will be released in a few months. I recorded the album in two sessions early last year in Kansas City with bassist Art Davis [pictured]. On drums is Jimmy "Junebug" Jackson, who for more than 20 years toured with organist Jimmy Smith. "Junebug" also has performed with McCoy Tyner, George Benson, Christian McBride and Carlos Santana. I also used local Kansas City drummer Zack Albetta for one of the sessions. My agent, Paul Collins, wanted to give him a chance to play and record with Art.
JW: How did the album's concept come about?
RM: In early 2007, we played a concert at the Blue Room near the American Jazz Museum in Kansas City. It was a special tribute to pianist Jay McShann, who had passed away in December 2006. My agent is a close friend of the McShanns. So we were able to meet Jay's family, and I got to play McShann's piano in his home, which was so exciting. I also received a few of his original scores as a gift from the McShann family. Art Davis was positive, happy and satisfied with our sound. Sadly, it turned out to be his final recording session.
JW: Why did you choose the Kansas City theme?
RM: I was so impressed with the American Jazz Museum in Kansas City and seeing the jazz district there [pictured] that I didn't want to miss an opportunity to pay tribute to the city and the music that was born there.
JW: What songs are on the CD?
RM: There are two totally improvised pieces, Kansas City Outbound, which has a Coltrane feel, and Kansas City Inbound, which I later found out has touches of pianist Denny Zeitlin. We also recorded I Fall in Love Too Easily; two originals of mine called Rainbow Eyes and Iraqi Blues; Monk's Bemsha Swing; Andrew Hill's Reverend Du Bop; and two more standards: Darn That Dream and Alone Together. I also recorded two solo piano interludes: ”Billy Strayhorn's A Flower Is a Lovesome Thing and Benny Carter's Lonely Woman.
JW: Speaking of solo piano, you recently recorded a solo album. It hasn't been released yet. How come?
RM: I just need to find a label that wants to release it. Solo piano albums are a harder sell. For me, the solo works are part of my personality and experience.
JW: Do you plan a tour of the U.S. soon?
RM: I plan to play in Los Angeles and San Francisco this year with saxophonists Paul Carr and Tony Lakatos [pictured, left, with Roberto], Marcus Shelby on bass and Idris Muhammad on drums. Then I hope to come to New York to play next year.
JazzWax tracks: Roberto Magris' Il Bello Del Jazz is available here on CD. For more information on the Soul Note label, go here. For more information about Roberto, go here. Il Bello Del Jazz is a very pretty album, with Magris displaying an enormous range as soloist and while accompanying Geller, who gives the date a smart, edgy West Coast feel.
Marc Myers is a New York journalist and historian. His thoughts on jazz and jazz recordings appear here daily.
An e-Chat With Roberto Magris
Few European musicians have as much adoration and reverence for the American jazz tradition as the Italian pianist Roberto Magris. Enormously curious about American culture and always eager to reinterpret neglected standards, Roberto loves performing with American jazz legends, and he brings a special sensitivity to every song he plays. Roberto's passion for jazz legends and jazz history continues to grow. His forthcoming album, Kansas City Outbound, features legendary bassist Art Davis, who died in July 2007 shortly after the album was recorded.
My favorite Roberto Magris album up to now has been Il Bello Del Jazz, which was recorded in 2003 but wasn't released until 2006. What makes this CD so special is the teaming of Roberto and the legendary alto saxophonist Herb Geller. Recorded in Roberto's home town of Trieste, Italy, everything about this album is fabulous and exciting. In addition to a handful of originals by Roberto and Geller, the album includes terrific standards including Benny Carter's Key Largo and Stephen Sondheim's Pretty Women. These two musicians together sound magical.
Roberto and I struck up a friendship several months ago via email after Roberto sent along his unreleased solo piano recording. Yesterday I e-interviewed Roberto, who's back in Trieste [pictured] after performing at a festival in Bucharest, Romania. He ruminated on why jazz is interpreted differently in various parts of Italy and reflected on one-time bandmates Herb Geller, Kai Winding, Eddie "Lockjaw" Davis, Sal Nistico and Art Davis. He also provided details about his soon-to-be released CD, an impressionistic tribute to Jay McShann and Kansas City jazz:
JazzWax: Is there a distinctly Italian approach to jazz?
Roberto Magris: Yes, I think so. But I am more of a Middle-European jazz musician than a purely Italian one. My musical experience took place not only in Italy but also in Austria, Hungary, Slovenia, Czechia and Germany. Before the Iron Curtain came down, there was a unique jazz stream from those countries that I experimented with, and I was one of the few Western musicians to play concerts there and collaborate with local jazz musicians on a regular basis. So I tend to identify with Central and Eastern European musicians, especially saxophonist Tony Lakatos, one of my favorites.
JW: What exactly sets you apart from mainstream Italian jazz musicians?
RM: I think I have a special sense of dancing melodies, a more rhythmic approach and the tendency to be more of a risk-taker in solos within the harmonic frame. Actually, the jazz scene in much of Italy tends to be orientated toward experimental jazz, with some exceptions, of course, like trumpeter Enrico Rava and pianist Enrico Pierannunzi. So, I don't feel completely connected to the Italian jazz scene. I'm from Trieste, on the Adriatic Sea, and feel I have greater connection to traditional American jazz played in Central and Eastern Europe.
JW: Alto saxophonist Herb Geller played on your 2006 release, Il Bello Del Jazz. He rarely plays in the U.S. now. Why do you think that is?
RM: My impression is that Herb doesn't like to travel too far from Hamburg, Germany, where he lives. He has played in California from time to time over the last few years. But for the most part, he feels very comfortable in his new hometown, where he's highly respected, loved and appreciated. I think Herb would be open to returning to the U.S. to play if a good festival invited him. At this point, he's a grandmaster who simply likes to communicate with his sharp but sweet sound.
JW: Because Herb has been gone from the U.S. scene for some time, he's a bit of mystery to many fans here. What's he like?
RM: He is a gentleman, a very nice guy, full of anecdotes and stories. He still remembers all of his small group and big-band gigs. He remains saddened by the sudden death of his wife, Lorraine [pictured], in 1958, and the passing of close friends like Scott LaFaro and Clifford Jordan. I was especially surprised to see how proficient he was on the computer.
JW: How so?
RM: Herb collects standards and transcribes them into his computer. He has a huge, impressive collection. It's like a massive computerized fake book. He's particularly keen on compositions by Billy Strayhorn and Benny Carter. Herb is always open to new things, provided they are within the jazz tradition. He especially likes melody and rhythm, and doesn't care much for modal jazz. He's really a treasure, and I cannot understand how he can be so renowned yet underrated at the same time. [pictured: Roberto and Herb Geller]
JW: Are there other legends you'd like to play with?
RM: Oh sure. Yusef Lateef, James Moody, Lee Konitz, Charlie Mariano and Jimmy Heath, for starters.
JW: In the early 1980s, you played with Kai Winding, Eddie "Lockjaw" Davis and Sal Nistico—who were nearing the end of their careers. What were they like?
RM: Kai Winding was a real gentleman but he was already ill. Despite being sick, his playing was beautiful and his phrasing was elegant. I believe I played behind him during his last concert. He died just a short period after that in 1983. "Lockjaw" [pictured] was always dressed out of this world. I still remember his funny personal taste for elegant clothes. Nistico had very hard problems with drug addiction, even though his playing was very good. He was on a continuous trip. I remember he was interested only in getting drugs between the concert sets.
JW: When is your new CD coming out?
RM: Kansas City Outbound (Soul Note) will be released in a few months. I recorded the album in two sessions early last year in Kansas City with bassist Art Davis [pictured]. On drums is Jimmy "Junebug" Jackson, who for more than 20 years toured with organist Jimmy Smith. "Junebug" also has performed with McCoy Tyner, George Benson, Christian McBride and Carlos Santana. I also used local Kansas City drummer Zack Albetta for one of the sessions. My agent, Paul Collins, wanted to give him a chance to play and record with Art.
JW: How did the album's concept come about?
RM: In early 2007, we played a concert at the Blue Room near the American Jazz Museum in Kansas City. It was a special tribute to pianist Jay McShann, who had passed away in December 2006. My agent is a close friend of the McShanns. So we were able to meet Jay's family, and I got to play McShann's piano in his home, which was so exciting. I also received a few of his original scores as a gift from the McShann family. Art Davis was positive, happy and satisfied with our sound. Sadly, it turned out to be his final recording session.
JW: Why did you choose the Kansas City theme?
RM: I was so impressed with the American Jazz Museum in Kansas City and seeing the jazz district there [pictured] that I didn't want to miss an opportunity to pay tribute to the city and the music that was born there.
JW: What songs are on the CD?
RM: There are two totally improvised pieces, Kansas City Outbound, which has a Coltrane feel, and Kansas City Inbound, which I later found out has touches of pianist Denny Zeitlin. We also recorded I Fall in Love Too Easily; two originals of mine called Rainbow Eyes and Iraqi Blues; Monk's Bemsha Swing; Andrew Hill's Reverend Du Bop; and two more standards: Darn That Dream and Alone Together. I also recorded two solo piano interludes: ”Billy Strayhorn's A Flower Is a Lovesome Thing and Benny Carter's Lonely Woman.
JW: Speaking of solo piano, you recently recorded a solo album. It hasn't been released yet. How come?
RM: I just need to find a label that wants to release it. Solo piano albums are a harder sell. For me, the solo works are part of my personality and experience.
JW: Do you plan a tour of the U.S. soon?
RM: I plan to play in Los Angeles and San Francisco this year with saxophonists Paul Carr and Tony Lakatos [pictured, left, with Roberto], Marcus Shelby on bass and Idris Muhammad on drums. Then I hope to come to New York to play next year.
JazzWax tracks: Roberto Magris' Il Bello Del Jazz is available here on CD. For more information on the Soul Note label, go here. For more information about Roberto, go here. Il Bello Del Jazz is a very pretty album, with Magris displaying an enormous range as soloist and while accompanying Geller, who gives the date a smart, edgy West Coast feel.
PCAMI* Welcomes Jens Wendelboe! - November 17, 2007
PCAMI* welcomes Jens Wendelboe from Oslo, Norway to our prolific musical family!
This multi-talented and gifted musician has a varied and distinguished career in the music business. Graduated from The Manhattan School of Music-NYC with a Master in Composition and Film Scoring, the Østlandske Music Conservatory-Oslo, Norway with a Bachelor Degree in Classical Trombone and Individual Study with Don Sebeske & Ed Green (Film Score), Dennis Wikk, Bill Watrous, Arild Jensen (Trombone), and Michael Gibbs, (Composition).
Jens moves seamlessly and passionately through classical, jazz, funk, Broadway theatre, film scores, T.V. scores, commission pieces and performances with some of the greatest names in music.
Currently, on tour as the musical director for Multi-Grammy Award Winner and music icon-DONNA SUMMER, Jens is also a member of Multi-Grammy Award Winning super group-”BLOOD, SWEAT AND TEARS”. Jens Wendelboe also finds time to conduct clinics, master classes, compose and perform with his own multi faceted and highly acclaimed group, the “Crazy Energy Orchestra, Big Band and Quartet”.
Now available for scheduling all your varied
musical needs.
This multi-talented and gifted musician has a varied and distinguished career in the music business. Graduated from The Manhattan School of Music-NYC with a Master in Composition and Film Scoring, the Østlandske Music Conservatory-Oslo, Norway with a Bachelor Degree in Classical Trombone and Individual Study with Don Sebeske & Ed Green (Film Score), Dennis Wikk, Bill Watrous, Arild Jensen (Trombone), and Michael Gibbs, (Composition).
Jens moves seamlessly and passionately through classical, jazz, funk, Broadway theatre, film scores, T.V. scores, commission pieces and performances with some of the greatest names in music.
Currently, on tour as the musical director for Multi-Grammy Award Winner and music icon-DONNA SUMMER, Jens is also a member of Multi-Grammy Award Winning super group-”BLOOD, SWEAT AND TEARS”. Jens Wendelboe also finds time to conduct clinics, master classes, compose and perform with his own multi faceted and highly acclaimed group, the “Crazy Energy Orchestra, Big Band and Quartet”.
Now available for scheduling all your varied
musical needs.
PCAMI* Welcomes Mike Vax! - October 10, 2007
PCAMI* Welcomes Mike Vax, lead trumpeter and band leader of the Alumni of the Stan Kenton Orchestra and the Mike Vax Big Band to our prolific musical family!
Mike Vax’s distinguished career of over 35 years, is a study of musical passion! He has performed and or recorded with such greats such as Art Pepper, Al Grey, Freddie Hubbard, Gene Krupa, John Handy, Louie Bellson, Joe Williams, the Clark Terry Big Bad Band, The Glenn Miller and Jimmy Dorsey Orchestras, just to mention a few.
Mike Vax is currently leading his own music groups around the world. Is also active as an international solo clinician in jazz and classical idioms or with the help of his world renowned contemporaries, the Alumni of the Stan Kenton Orchestra. Mike Vax has more than 2000 workshops, clinics and performances under his belt, with more than 75 albums to his credit, including 20 under his own name. The Mike Vax Big Band is now available in various formats for festivals, clinics or international performances. Mike Vax resides in sunny California.
Mike Vax’s distinguished career of over 35 years, is a study of musical passion! He has performed and or recorded with such greats such as Art Pepper, Al Grey, Freddie Hubbard, Gene Krupa, John Handy, Louie Bellson, Joe Williams, the Clark Terry Big Bad Band, The Glenn Miller and Jimmy Dorsey Orchestras, just to mention a few.
Mike Vax is currently leading his own music groups around the world. Is also active as an international solo clinician in jazz and classical idioms or with the help of his world renowned contemporaries, the Alumni of the Stan Kenton Orchestra. Mike Vax has more than 2000 workshops, clinics and performances under his belt, with more than 75 albums to his credit, including 20 under his own name. The Mike Vax Big Band is now available in various formats for festivals, clinics or international performances. Mike Vax resides in sunny California.
PCAMI* Welcomes Nabil Khemir! - October 8, 2007
PCAMI* is pleased to announce the addition of Nabil Khemir from Tunis, Tunisia to our prolific musical family.
Nabil has been playing music from a very early age and has continued to develop his musical skills by studying Western jazz masters such as George Benson, John McLaughlin and Pat Metheny. In addition to studying jazz masters, Nabil sought the master lute player, Ali Sriti for private master classes on the lute.
In 2004, Nabil designed and had a hybrid instrument made that combines the guitar with a lute. This hybrid instrument gives Nabil the ability to add the quality of both instruments to his voice and performances at a moment s notice. “This child prodigy adds his distinct sound to jazz as he interprets it”, says music impresario Paul Collins, “it just goes to show you the impact jazz has on the world as we know it. We are thankful one of jazz great musical pioneers, Dizzy Gillespie wrote a jazz song that the folks of Tunisia can be proud of. Now, Tunisia can be proud of one of its own in the jazz community. Look for more good music from this upcoming artist.” ###
For more information, please visit us at www.bluecanoerecords.com, www.paulcollinsartistmanagement.com or www.nabilkhemir.com
Nabil has been playing music from a very early age and has continued to develop his musical skills by studying Western jazz masters such as George Benson, John McLaughlin and Pat Metheny. In addition to studying jazz masters, Nabil sought the master lute player, Ali Sriti for private master classes on the lute.
In 2004, Nabil designed and had a hybrid instrument made that combines the guitar with a lute. This hybrid instrument gives Nabil the ability to add the quality of both instruments to his voice and performances at a moment s notice. “This child prodigy adds his distinct sound to jazz as he interprets it”, says music impresario Paul Collins, “it just goes to show you the impact jazz has on the world as we know it. We are thankful one of jazz great musical pioneers, Dizzy Gillespie wrote a jazz song that the folks of Tunisia can be proud of. Now, Tunisia can be proud of one of its own in the jazz community. Look for more good music from this upcoming artist.” ###
For more information, please visit us at www.bluecanoerecords.com, www.paulcollinsartistmanagement.com or www.nabilkhemir.com
Washington Post Staff Writer-Matt Schudel writes obituary about Dr. Art Davis - August 7, 2007
Obituaries
Jazz Bassist Art Davis, 73; Later Became Psychologist
By Matt Schudel
Washington Post Staff Writer
Sunday, August 5, 2007; Page C08
Art Davis, a virtuoso bassist who excelled in classical music and jazz, and who became a clinical psychologist later in life, died July 29 of a heart attack at his home in Long Beach, Calif. He was 73.
Trained as a classical musician at leading conservatories, Dr. Davis won early renown in the 1950s working with celebrated jazz musicians Max Roach and Dizzy Gillespie. In the 1960s, he was one of saxophonist John Coltrane's favorite bassists and appeared on several of Coltrane's recordings.
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He also performed in classical orchestras and Broadway shows and accompanied a varied list of stars that included Judy Garland, Count Basie, Bob Dylan, Harry Belafonte, James Brown and Minnie Pearl.
Dr. Davis maintained for many years that he had been denied positions in leading classical orchestras because he was black. He sued the New York Philharmonic unsuccessfully in the early 1970s, claiming the orchestra discriminated against him when it failed to offer him a full-time position.
Never shy about self-promotion -- he described himself on his Web site as "the world's greatest bassist" -- Dr. Davis challenged orchestras to pit him against any other bass player in a playoff. By the mid-1970s, he had drifted away from music and had become, in the words of jazz pianist Ahmad Jamal, "a forgotten legend."
He turned instead to the study of psychology, receiving master's degrees from the City University of New York and New York University and a doctorate from NYU in 1982. By then, Dr. Davis had abandoned music and devoted himself to a clinical psychology practice.
After moving to California in 1986, he continued his counseling work and picked up his bass again, receiving belated praise. He toured Europe and Japan, made a recording featuring pianist Herbie Hancock and Coltrane's son, saxophonist Ravi Coltrane, and established a foundation that awarded scholarships to underprivileged students.
In later years, he said his protracted court case against the Philharmonic kept him out of musical circulation for 10 years, but "I wouldn't be Dr. Art Davis if it hadn't happened."
Arthur D. Davis was born in Harrisburg, Pa., and began playing the piano at age 5. He later took up the tuba and string bass, studied at the Juilliard and Manhattan schools of music and graduated from Hunter College in New York. Switching easily from classical music to jazz, he performed in orchestras in Pennsylvania and New York while working with jazz trumpeter Kenny Dorham and with Roach, a groundbreaking drummer.
In 1959, Dr. Davis joined Gillespie's band and toured the world for more than two years. Settling in New York in 1961, he was a member of the NBC, CBS and Westinghouse television orchestras and often played with the studio bands of "The Tonight Show" and "The Merv Griffin Show." He won a Down Beat magazine jazz poll in 1962 and was, as critic Nat Hentoff wrote in Jazz Times magazine, "a bassist with a stunning command of his instrument."
Adept at folk and country music as well as classical and jazz, Dr. Davis toured with Peter, Paul and Mary and John Denver and performed with Louis Armstrong, Lena Horne and Barbra Streisand. In the 1960s, he appeared on several albums with Coltrane, including "Olé Coltrane," "Africa/Brass" and "Ascension."
"It all sounded good to me -- and I felt I could do a number of different fields," he said of his eclectic tastes. "I was one of the first to switch back and forth from jazz to classical."
In California, Dr. Davis taught bass at several colleges, led his own jazz combos and made a few recordings, all while maintaining his psychology practice. He often spoke to school groups about jazz and established two scholarships for students.
He developed a fingering technique for the bass and published a book, "The Arthur Davis System for Double Bass."
His wife, Gladys, died in 1995.
Survivors include three children.
Jazz Bassist Art Davis, 73; Later Became Psychologist
By Matt Schudel
Washington Post Staff Writer
Sunday, August 5, 2007; Page C08
Art Davis, a virtuoso bassist who excelled in classical music and jazz, and who became a clinical psychologist later in life, died July 29 of a heart attack at his home in Long Beach, Calif. He was 73.
Trained as a classical musician at leading conservatories, Dr. Davis won early renown in the 1950s working with celebrated jazz musicians Max Roach and Dizzy Gillespie. In the 1960s, he was one of saxophonist John Coltrane's favorite bassists and appeared on several of Coltrane's recordings.
Special Report
Read Washington Post obituaries and view multimedia tributes to Pope John Paul II, Ronald Reagan, James Brown and more.
» VISIT THE FULL ARCHIVE
Search Paid Death Notices
To place a death notice call (202) 334-4122 or email deathnotices@washpost.com. Please be sure to include your name, daytime phone number, address, method of payment, name of funeral home/crematory to contact for verification of death.
Search Death Notices:
Death notices are searchable for 90 days. Leave field blank and click "Go" to see full list.
Search our archive for death notices since October 14, 2001.
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He also performed in classical orchestras and Broadway shows and accompanied a varied list of stars that included Judy Garland, Count Basie, Bob Dylan, Harry Belafonte, James Brown and Minnie Pearl.
Dr. Davis maintained for many years that he had been denied positions in leading classical orchestras because he was black. He sued the New York Philharmonic unsuccessfully in the early 1970s, claiming the orchestra discriminated against him when it failed to offer him a full-time position.
Never shy about self-promotion -- he described himself on his Web site as "the world's greatest bassist" -- Dr. Davis challenged orchestras to pit him against any other bass player in a playoff. By the mid-1970s, he had drifted away from music and had become, in the words of jazz pianist Ahmad Jamal, "a forgotten legend."
He turned instead to the study of psychology, receiving master's degrees from the City University of New York and New York University and a doctorate from NYU in 1982. By then, Dr. Davis had abandoned music and devoted himself to a clinical psychology practice.
After moving to California in 1986, he continued his counseling work and picked up his bass again, receiving belated praise. He toured Europe and Japan, made a recording featuring pianist Herbie Hancock and Coltrane's son, saxophonist Ravi Coltrane, and established a foundation that awarded scholarships to underprivileged students.
In later years, he said his protracted court case against the Philharmonic kept him out of musical circulation for 10 years, but "I wouldn't be Dr. Art Davis if it hadn't happened."
Arthur D. Davis was born in Harrisburg, Pa., and began playing the piano at age 5. He later took up the tuba and string bass, studied at the Juilliard and Manhattan schools of music and graduated from Hunter College in New York. Switching easily from classical music to jazz, he performed in orchestras in Pennsylvania and New York while working with jazz trumpeter Kenny Dorham and with Roach, a groundbreaking drummer.
In 1959, Dr. Davis joined Gillespie's band and toured the world for more than two years. Settling in New York in 1961, he was a member of the NBC, CBS and Westinghouse television orchestras and often played with the studio bands of "The Tonight Show" and "The Merv Griffin Show." He won a Down Beat magazine jazz poll in 1962 and was, as critic Nat Hentoff wrote in Jazz Times magazine, "a bassist with a stunning command of his instrument."
Adept at folk and country music as well as classical and jazz, Dr. Davis toured with Peter, Paul and Mary and John Denver and performed with Louis Armstrong, Lena Horne and Barbra Streisand. In the 1960s, he appeared on several albums with Coltrane, including "Olé Coltrane," "Africa/Brass" and "Ascension."
"It all sounded good to me -- and I felt I could do a number of different fields," he said of his eclectic tastes. "I was one of the first to switch back and forth from jazz to classical."
In California, Dr. Davis taught bass at several colleges, led his own jazz combos and made a few recordings, all while maintaining his psychology practice. He often spoke to school groups about jazz and established two scholarships for students.
He developed a fingering technique for the bass and published a book, "The Arthur Davis System for Double Bass."
His wife, Gladys, died in 1995.
Survivors include three children.
PCAMI* Morns the Loss Of Jazz Legend and One of the World's Greatest Musical Treasures- Dr. Art Davis - July 30, 2007
Paul Collins Artist Management International (PCAMI*) is deeply saddened by the news and loss of jazz legend Dr. Art Davis. In a career that has spanned more than four decades, Dr. Davis has performed with more pianists and jazz vocalists than perhaps any other bassist alive today. "I am speechless", said Paul Collins, music impresario from kansas City, Missouri, I received a call from his friend and pianist in California, Jan Jordan who gave me the news. I in turn called his son to confirm and express my humble and sincere sympathies. The thing is, I had just received an email from Dr. Art Sunday as we were planning some other initiatives for the year. We were also planning to release some material in 2008 that we recorded and in conjunction with his book and documentary about the life of John Coltrane. He had quite a life and great memories to share about it. I am certainly going to miss my friend, mentor, the legend and one of the world's greatest musical treasures, Dr.Davis."
Alphabetization of the "Nu Jazz" an Interview with composer and pianist Robert Magris by Stephen Bocioaca-jazzworldquest.com - April 7, 2007
"There are no great differences anymore between Europe and North America
in music in my opinion, even if each artist has its own peculiarities
coming from his race and culture, but it's simply a matter of good or
bad music, without geographical borders"
Stephen Bocioaca: DMA Urban Jazz Funk and later on Alfabeats, stand
in contrast to straight ahead classic jazz. When you first started
the project did you feel you took a risk (to alienate straight
ahead jazz fans) or it appeared like an opportunity?
Roberto Magris: I've always liked the Hammond organ players like
Jimmy Smith, Charles Earland, John Patton etc. so when it came the
acid jazz season I was so happy to feel that such an organ sound
was on the spotlight again. So I wasn't afraid to miss something
but simply I catched the opportunity to play a certain genre of
jazz (soul jazz) that I've always appreciated. Of course, that
kind of rhythm (acid jazz), the hip-hop with the rap lyrics and
also the use of some digital technology (loops etc.) were an added
value to the music to me.
Stephen Bocioaca: How was Alfabeats received by jazz fans and
audiences around the world? Are you encouraged to continue with
Alfabeats recording new albums and touring?
Roberto Magris: When I noticed that the "acid jazz" stream reached
an artistic end and when I felt a little bit fed up with all those
digital sounds, I decided to move the band into a new "acoustic"
sound, but I had some difficulties with some bandmates. So, we
splitted and I re-founded the band - together with the drummer
Paolo Prizzon and rapper Max M'Bassado Marzio (both from the DMA
experience) and 2 new musicians, guitarist Luca Boscagin and
bassist Paolo Andriolo - under the name of Alfabeats Nu Jazz. From
the beginning people enjoyed such a changing of atmosphere, with
more aggressive rhythms and a variety of musical influences from
jazz to hip-hop, progressive rock and ambient too. The feedbacks
were so positive that I had to take my time to decide how and
where to get our new CD "Stones" released. At last, some friends
and my manager in the U.S., Paul Collins (from the
www.paulcollinsartismanagement.com ) were so enthusiastic that we
decided together to get it released in the U.S. by independent
label Oasis. No doubt that we'll keep on alfabeating around...
Stephen Bocioaca: Can Alfabeats evolve to a sort of musical
laboratory where other contemporary or ethnic sounds and
influences can come into mix? Without comparing, can Alfabeats
become a sort of "elektric" version of the Europlane Orchestra?
Roberto Magris: I think Alfabeats will always follow the present
times and society with its urban rhythms and illusions... Not only
my compositions and improvisational mood, but also Max's poetry is
very important too in the Alfabeats project. And the variety of
rhythms and grooves too. My personal musical experience began in
the crazy '70s, with a lot of jazz, rock and jazz-rock... too...
so I really have a "progressive" approach to music with the
Alfabeats and with the Europlane as well. In this period I'm
especially concentrated in playing the acoustic piano, without any
keyboards, and I'm looking for a dried and more essential approach
to music, in the sense of melody, harmony and rhythm. I feel that
the Alfabeats have no specific "European" influences, in the sense
of musical culture, but just range from different styles and
musical approaches (jazz, rock, hip-hop, ambient, progressive)
looking for a personalized mixture good for the body and good for
the brain of the listeners. Europlane is a jazz laboratory with a
different concept, rooted in the European jazz tradition, and
trying to export worldwide such a point of view, similarly to
Vienna Art Orchestra, for example (even if the musical approach is
quite different).
Stephen Bocioaca: How different the collective chemistry and the
music-making process is with Alfabeats than with Europlane
Orchestra?
With the Alfabeats I need very much the collaboration of drummer
Paolo Prizzon, who is charged to find the "right" grooves and
rhythms for each song, and of rapper poet Max Mbassado Marzio who
sets the mood with his stories. I'm very much influenced by the
lyrics while composing; see for example "Red Cap & the Bad Loop",
which make me select the key to press (the jazz key, the rock key,
the ethno key...). It's very much a workshop, like an "old time"
progressive band. On the other side, with Europlane, I mainly dig
my own straight jazz experience and I like to plan everything
before: the choice of the program, the arrangements, the soloists
etc. Nothing stiff, but I like to be a real bandleader and music
organizator. Indeed with the Europlane I've always recorded
"concept albums", like, for example, "Check In" featuring Tony
Lakatos (Soulnote 2005) or "Il Bello del Jazz" featuring Herb
Geller (Soulnote 2006) and just in couple of months I'll have my
newest 2007 album "Current Views" released by Soulnote too
(website: www.blacksaint.com)
Stephen Bocioaca: Some voices are criticizing the expansion of
jazz schools arguing that they produce too much quantity and less
quality.
I'd say that it's thank to the music schools that now we have so
many excellent professional musicians all around the world (we
couldn't imagine it in the '70s) and the general level of
musicians is so high. Yes I talk about the technical and musical
levels, that are fantastic. And it's a joy to find so many
excellent musicians everywhere around the world and to have the
possibility to play together with them without barriers, thanks to
a common musical background. And this is thanks to the music
schools. If the musical and technical level is very high, that's a
great thing for all the "music" I'd say, mostly in such a
technological world....
Stephen Bocioaca: In an interview with Boston Herald (Monday,
September 11, 2006), Branford Marsalis commented: "The times are
different now. The talent level is severely diminished and that
stuff that has replaced it has really put jazz in a bind because
the music seems to lack any kind of substance in regards to
human-ness or humanity. It's very professorial, like think-tank
music. "Jazz is in trouble. But the reason it's in trouble is not
because the music's dying, but because the people who are playing
don't have a lot of talent. We have great players in terms of
playing their instruments, but in terms of some kind of
understanding of jazz, we don't have a lot of talent right now."
Do You think that Marsalis is right?
I don't agree with Marsalis, I'm sorry. If we talk about "art" the
story may be different, as Marsalis says. But in my opinion,
certain lack of artistry in music is simply a result of the
"spirit of times". That's the world today.. we have globalization,
everything is almost the same everywhere.. how can we have a new
Charlie Parker or a new Jimi Hendrix today? I'd say the only way
for a musician to find his artistry, is to look inside his
experience for his own personal resources. Like George Harrison
I'd say that "We live in a material world (with a digital brain)"
and we have to compare this to the "naif" Woodstock heroes from
the '60s... and to John Coltrane, Ornette Coleman and Albert Ayler
from the '60s too... The world is different and the concept of art
is and will be more and more different.... (what kind of art is
the computerized music?).
Marsalis is right when he speaks about great technique without
genius. He perfectly knows all the styles and the history of jazz
but, in my little opinion, he cannot be compared to masters such
as Lee Morgan, Freddie Hubbard and Woody Shaw, just to mention a
few names of the '60s generation, about artistry and creativity...
so I can't see any reason for him to declare that young musicians
have completely lost their talent and jazz awareness today. On the
other side, it's also clear that a new Mozart is missing, even if
the Conservatories are packed with students. I'd suggest, let's
try to better understand what it's happening now to us, to our
society and to our music and maybe we'll find some new concept of
"art" if we are open minded enough to cross our cultural heritage
and share our experience with the young generation not as a
teacher but simply as an older colleague.
That's the way Charlie Parker, Miles Davis, John Coltrane have
shown to us and it's still the approach of people like Ornette
Coleman and Roy Haynes, for example, or my own much older friends
Herb Geller and Art Davis and the many other living legends of
jazz still on the scene today. Last but not least, one of the best
results of having all that music students at jazz schools now
(it's obvious that the most of them won't become nor famous nor
stars but just will keep alive the flame of their interest in jazz
all their life) is that we find to have grown a generation of
"quality" jazz listeners and that we have now an audience not only
of jazz fans but also of people who have attended some jazz
courses, who can play some jazz, who knows (better than in the
past) what we're playing about... So, that's not definitely a bad
situation, in my opinion.
Stephen Bocioaca: What are your impressions of the artistic and
creative content of the current jazz and fusion scene in Europe
and North America? What new talents can you see there?
I can find many interesting musicians in the current jazz and not
only jazz scene. A first name is Roy Hargrove, who plays great
music either with his straight jazz group either with his RH
Factor, then Joshua Redman, Greg Osby... No, there are no great
differences anymore between Europe and North America in music in
my opinion, even if each artist has its own peculiarities coming
from his race and culture, but it's simply a matter of good or bad
music, without geographical borders.
Stephen Bocioaca: What chances are for European jazz musicians to
play more in North America? What do you think that should and can
be done to promote it? Do you think there's enough "market" for
European jazz?
In my little experience Americans like professionism at the most.
If Europeans plays at the same high standard of Americans they are
immediately accepted. On the other side, in Europe, jazz is quite
strong too and I'm very happy to say this, but there is still a
big difference. In America there is much more selection and the
average jazz musician has a higher standard than in Europe.
However, in Europe everybody can find his own little space, even
if having nothing to say, and that's good for musicians and bad
for the audience. However, I'd say that the level of the audience
in the U.S. is the same in Europe and in Japan too... and the show
business is definitely international, like the credit cards. When
you consider that there is not enough market for jazz, yes, I
think there's enough market for European jazz... and that's a god
new in a sad story...
Stephen Bocioaca: Internet became a powerful promotional tool for
musicians, yet there are many independent musicians on both sides
of the Atlantic who think that their Internet presence and
promotion didn't bring them the benefits they were expecting, in
terms of sales and bookings. How beneficial was Internet for your
projects?
Internet is definitely important for my activity even if I think
that it's hard to spend time and energy to promote a new CD when
the most of people won't buy it in the shops and will try to
download it from the net. Probably we must figure out the
possibility that the artist will directly sell to the customers
the file songs they want to listen but.... what about "concept
albums"? Internet it's like a rodeo, not easy to ride... even if
everybody uses it, now. One thing is for sure: Internet has become
a fourth part of my life (1/4 music, 1/4 driving to the gig, 1/4
at the p.c., and the rest to be divided trying to survive....)
More about Roberto Magris:
www.paulcollinsartistmanagement.com
Roberto Magris at JWQ
in music in my opinion, even if each artist has its own peculiarities
coming from his race and culture, but it's simply a matter of good or
bad music, without geographical borders"
Stephen Bocioaca: DMA Urban Jazz Funk and later on Alfabeats, stand
in contrast to straight ahead classic jazz. When you first started
the project did you feel you took a risk (to alienate straight
ahead jazz fans) or it appeared like an opportunity?
Roberto Magris: I've always liked the Hammond organ players like
Jimmy Smith, Charles Earland, John Patton etc. so when it came the
acid jazz season I was so happy to feel that such an organ sound
was on the spotlight again. So I wasn't afraid to miss something
but simply I catched the opportunity to play a certain genre of
jazz (soul jazz) that I've always appreciated. Of course, that
kind of rhythm (acid jazz), the hip-hop with the rap lyrics and
also the use of some digital technology (loops etc.) were an added
value to the music to me.
Stephen Bocioaca: How was Alfabeats received by jazz fans and
audiences around the world? Are you encouraged to continue with
Alfabeats recording new albums and touring?
Roberto Magris: When I noticed that the "acid jazz" stream reached
an artistic end and when I felt a little bit fed up with all those
digital sounds, I decided to move the band into a new "acoustic"
sound, but I had some difficulties with some bandmates. So, we
splitted and I re-founded the band - together with the drummer
Paolo Prizzon and rapper Max M'Bassado Marzio (both from the DMA
experience) and 2 new musicians, guitarist Luca Boscagin and
bassist Paolo Andriolo - under the name of Alfabeats Nu Jazz. From
the beginning people enjoyed such a changing of atmosphere, with
more aggressive rhythms and a variety of musical influences from
jazz to hip-hop, progressive rock and ambient too. The feedbacks
were so positive that I had to take my time to decide how and
where to get our new CD "Stones" released. At last, some friends
and my manager in the U.S., Paul Collins (from the
www.paulcollinsartismanagement.com ) were so enthusiastic that we
decided together to get it released in the U.S. by independent
label Oasis. No doubt that we'll keep on alfabeating around...
Stephen Bocioaca: Can Alfabeats evolve to a sort of musical
laboratory where other contemporary or ethnic sounds and
influences can come into mix? Without comparing, can Alfabeats
become a sort of "elektric" version of the Europlane Orchestra?
Roberto Magris: I think Alfabeats will always follow the present
times and society with its urban rhythms and illusions... Not only
my compositions and improvisational mood, but also Max's poetry is
very important too in the Alfabeats project. And the variety of
rhythms and grooves too. My personal musical experience began in
the crazy '70s, with a lot of jazz, rock and jazz-rock... too...
so I really have a "progressive" approach to music with the
Alfabeats and with the Europlane as well. In this period I'm
especially concentrated in playing the acoustic piano, without any
keyboards, and I'm looking for a dried and more essential approach
to music, in the sense of melody, harmony and rhythm. I feel that
the Alfabeats have no specific "European" influences, in the sense
of musical culture, but just range from different styles and
musical approaches (jazz, rock, hip-hop, ambient, progressive)
looking for a personalized mixture good for the body and good for
the brain of the listeners. Europlane is a jazz laboratory with a
different concept, rooted in the European jazz tradition, and
trying to export worldwide such a point of view, similarly to
Vienna Art Orchestra, for example (even if the musical approach is
quite different).
Stephen Bocioaca: How different the collective chemistry and the
music-making process is with Alfabeats than with Europlane
Orchestra?
With the Alfabeats I need very much the collaboration of drummer
Paolo Prizzon, who is charged to find the "right" grooves and
rhythms for each song, and of rapper poet Max Mbassado Marzio who
sets the mood with his stories. I'm very much influenced by the
lyrics while composing; see for example "Red Cap & the Bad Loop",
which make me select the key to press (the jazz key, the rock key,
the ethno key...). It's very much a workshop, like an "old time"
progressive band. On the other side, with Europlane, I mainly dig
my own straight jazz experience and I like to plan everything
before: the choice of the program, the arrangements, the soloists
etc. Nothing stiff, but I like to be a real bandleader and music
organizator. Indeed with the Europlane I've always recorded
"concept albums", like, for example, "Check In" featuring Tony
Lakatos (Soulnote 2005) or "Il Bello del Jazz" featuring Herb
Geller (Soulnote 2006) and just in couple of months I'll have my
newest 2007 album "Current Views" released by Soulnote too
(website: www.blacksaint.com)
Stephen Bocioaca: Some voices are criticizing the expansion of
jazz schools arguing that they produce too much quantity and less
quality.
I'd say that it's thank to the music schools that now we have so
many excellent professional musicians all around the world (we
couldn't imagine it in the '70s) and the general level of
musicians is so high. Yes I talk about the technical and musical
levels, that are fantastic. And it's a joy to find so many
excellent musicians everywhere around the world and to have the
possibility to play together with them without barriers, thanks to
a common musical background. And this is thanks to the music
schools. If the musical and technical level is very high, that's a
great thing for all the "music" I'd say, mostly in such a
technological world....
Stephen Bocioaca: In an interview with Boston Herald (Monday,
September 11, 2006), Branford Marsalis commented: "The times are
different now. The talent level is severely diminished and that
stuff that has replaced it has really put jazz in a bind because
the music seems to lack any kind of substance in regards to
human-ness or humanity. It's very professorial, like think-tank
music. "Jazz is in trouble. But the reason it's in trouble is not
because the music's dying, but because the people who are playing
don't have a lot of talent. We have great players in terms of
playing their instruments, but in terms of some kind of
understanding of jazz, we don't have a lot of talent right now."
Do You think that Marsalis is right?
I don't agree with Marsalis, I'm sorry. If we talk about "art" the
story may be different, as Marsalis says. But in my opinion,
certain lack of artistry in music is simply a result of the
"spirit of times". That's the world today.. we have globalization,
everything is almost the same everywhere.. how can we have a new
Charlie Parker or a new Jimi Hendrix today? I'd say the only way
for a musician to find his artistry, is to look inside his
experience for his own personal resources. Like George Harrison
I'd say that "We live in a material world (with a digital brain)"
and we have to compare this to the "naif" Woodstock heroes from
the '60s... and to John Coltrane, Ornette Coleman and Albert Ayler
from the '60s too... The world is different and the concept of art
is and will be more and more different.... (what kind of art is
the computerized music?).
Marsalis is right when he speaks about great technique without
genius. He perfectly knows all the styles and the history of jazz
but, in my little opinion, he cannot be compared to masters such
as Lee Morgan, Freddie Hubbard and Woody Shaw, just to mention a
few names of the '60s generation, about artistry and creativity...
so I can't see any reason for him to declare that young musicians
have completely lost their talent and jazz awareness today. On the
other side, it's also clear that a new Mozart is missing, even if
the Conservatories are packed with students. I'd suggest, let's
try to better understand what it's happening now to us, to our
society and to our music and maybe we'll find some new concept of
"art" if we are open minded enough to cross our cultural heritage
and share our experience with the young generation not as a
teacher but simply as an older colleague.
That's the way Charlie Parker, Miles Davis, John Coltrane have
shown to us and it's still the approach of people like Ornette
Coleman and Roy Haynes, for example, or my own much older friends
Herb Geller and Art Davis and the many other living legends of
jazz still on the scene today. Last but not least, one of the best
results of having all that music students at jazz schools now
(it's obvious that the most of them won't become nor famous nor
stars but just will keep alive the flame of their interest in jazz
all their life) is that we find to have grown a generation of
"quality" jazz listeners and that we have now an audience not only
of jazz fans but also of people who have attended some jazz
courses, who can play some jazz, who knows (better than in the
past) what we're playing about... So, that's not definitely a bad
situation, in my opinion.
Stephen Bocioaca: What are your impressions of the artistic and
creative content of the current jazz and fusion scene in Europe
and North America? What new talents can you see there?
I can find many interesting musicians in the current jazz and not
only jazz scene. A first name is Roy Hargrove, who plays great
music either with his straight jazz group either with his RH
Factor, then Joshua Redman, Greg Osby... No, there are no great
differences anymore between Europe and North America in music in
my opinion, even if each artist has its own peculiarities coming
from his race and culture, but it's simply a matter of good or bad
music, without geographical borders.
Stephen Bocioaca: What chances are for European jazz musicians to
play more in North America? What do you think that should and can
be done to promote it? Do you think there's enough "market" for
European jazz?
In my little experience Americans like professionism at the most.
If Europeans plays at the same high standard of Americans they are
immediately accepted. On the other side, in Europe, jazz is quite
strong too and I'm very happy to say this, but there is still a
big difference. In America there is much more selection and the
average jazz musician has a higher standard than in Europe.
However, in Europe everybody can find his own little space, even
if having nothing to say, and that's good for musicians and bad
for the audience. However, I'd say that the level of the audience
in the U.S. is the same in Europe and in Japan too... and the show
business is definitely international, like the credit cards. When
you consider that there is not enough market for jazz, yes, I
think there's enough market for European jazz... and that's a god
new in a sad story...
Stephen Bocioaca: Internet became a powerful promotional tool for
musicians, yet there are many independent musicians on both sides
of the Atlantic who think that their Internet presence and
promotion didn't bring them the benefits they were expecting, in
terms of sales and bookings. How beneficial was Internet for your
projects?
Internet is definitely important for my activity even if I think
that it's hard to spend time and energy to promote a new CD when
the most of people won't buy it in the shops and will try to
download it from the net. Probably we must figure out the
possibility that the artist will directly sell to the customers
the file songs they want to listen but.... what about "concept
albums"? Internet it's like a rodeo, not easy to ride... even if
everybody uses it, now. One thing is for sure: Internet has become
a fourth part of my life (1/4 music, 1/4 driving to the gig, 1/4
at the p.c., and the rest to be divided trying to survive....)
More about Roberto Magris:
www.paulcollinsartistmanagement.com
Roberto Magris at JWQ
Gumbi Ortiz "Miami" Available at CD Baby.com - April 3, 2007
The latest CD from Gumbi Ortiz entitled "Miami" is now available for purchase at CD Baby.com
Get your copy now!!!
Visit this link: http://cdbaby.com/cd/gumbiortiz2
Get your copy now!!!
Visit this link: http://cdbaby.com/cd/gumbiortiz2
John Kelman, Senior Editor, All Aout Jazz.com Reviews Roberto Magris-Alfabeats Nu Jazz "New" CD Entitled "Stones" - March 7, 2007
For those who think that authentic, urban-informed jazz is the unique purview of North American musicians, one need only look to Stones. Emerging from the ashes of the more electronica-centric Italian group DMA, the equally all-Italian Alfabeats Nu Jazz makes music that sounds like it could be coming from the streets of any large American city—or does it?
The Alfabeats member who will be best known to American audiences is Roberto Magris, whose mainstream Europlane group released the critically well-received Il Bello Del Jazz (Soul Note, 2006). Here the talented pianist is found just as often on electric piano and organ as the acoustic variety. While Alfabeats is an electric band—not just literally, in that bassist Paolo Andriolo and guitarist Luca Boscagin play the plugged-in versions of their instruments, but also in the sense that this group is charged—this is no electronica outfit that utilizes the samplers and turntables some jazz fans find anathematic and very arguably un-jazzy.
First and foremost, Alfabeats is a playing band, albeit one with a language that extends far beyond the conventional definition of jazz to include elements of soul, R&B, funk... even hints of progressive rock and classic ‘70s Brit-rock. Regardless of how the group amalgamates a seemingly disparate group of influences, groove is priority number one. Whether it’s the hip-hop-centric rhythm of “Syeeda’s Flute in Wonderland,” with its reference to John Coltrane, the more balladic funk of the title track, or the rocking “Islamic Spires,” this is music that’s sure to move the body without sacrificing any appeal for the mind.
Outside of a couple of passages where he delivers his message in Italian, one would be hard-pressed to hear any trace of an accent from rap vocalist Max “Mbassado” Marzio. Not that there would be anything wrong with that, but combined with the rest of the group’s overall sound, it lays total waste to any claims of stylistic propriety. Far from the vapid (or sometimes downright offensive) lyrics of so much rap music, Marzio delivers poetry with a purpose, as on the cautionary tale “Red Cap & The Bad Loop.”
The group never overstays its welcome, but Magris and Boscagin deliver strong solos throughout, buoyed by Andriolo and drummer Paolo Prizzon’s visceral grooves. The language never gets too complicated, but it’s clear, even on the straightforward “Floppy Generation Blues,” that everyone—not just Magris—possesses a rich vernacular.
Stones is an exciting debut that will no doubt appeal to a younger demographic. But it’s just as certain to attract more seasoned jazzers who don’t have a knee-jerk reaction against rap or the idea of straying away from convention.
Visit Alfabeats Nu Jazz on the web.
Alfabeats Nu Jazz at All About Jazz.
Track listing: Syeeda's Flute in Wonderland; Stones; Islamic Spires; Red Cap & The Bad Loop; L.A.P.D.; Terra Nuda; Reaching the Holy Land; Get Coltranized; Floppy Generation Blues.
Personnel: Max “Mbassado” Marzio: rap vocals; Luca Boscagin: electric guitar; Roberto Magris: piano and organ; Paolo Andriolo: electric bass; Paolo Prizzon: drums, percussion.
The Alfabeats member who will be best known to American audiences is Roberto Magris, whose mainstream Europlane group released the critically well-received Il Bello Del Jazz (Soul Note, 2006). Here the talented pianist is found just as often on electric piano and organ as the acoustic variety. While Alfabeats is an electric band—not just literally, in that bassist Paolo Andriolo and guitarist Luca Boscagin play the plugged-in versions of their instruments, but also in the sense that this group is charged—this is no electronica outfit that utilizes the samplers and turntables some jazz fans find anathematic and very arguably un-jazzy.
First and foremost, Alfabeats is a playing band, albeit one with a language that extends far beyond the conventional definition of jazz to include elements of soul, R&B, funk... even hints of progressive rock and classic ‘70s Brit-rock. Regardless of how the group amalgamates a seemingly disparate group of influences, groove is priority number one. Whether it’s the hip-hop-centric rhythm of “Syeeda’s Flute in Wonderland,” with its reference to John Coltrane, the more balladic funk of the title track, or the rocking “Islamic Spires,” this is music that’s sure to move the body without sacrificing any appeal for the mind.
Outside of a couple of passages where he delivers his message in Italian, one would be hard-pressed to hear any trace of an accent from rap vocalist Max “Mbassado” Marzio. Not that there would be anything wrong with that, but combined with the rest of the group’s overall sound, it lays total waste to any claims of stylistic propriety. Far from the vapid (or sometimes downright offensive) lyrics of so much rap music, Marzio delivers poetry with a purpose, as on the cautionary tale “Red Cap & The Bad Loop.”
The group never overstays its welcome, but Magris and Boscagin deliver strong solos throughout, buoyed by Andriolo and drummer Paolo Prizzon’s visceral grooves. The language never gets too complicated, but it’s clear, even on the straightforward “Floppy Generation Blues,” that everyone—not just Magris—possesses a rich vernacular.
Stones is an exciting debut that will no doubt appeal to a younger demographic. But it’s just as certain to attract more seasoned jazzers who don’t have a knee-jerk reaction against rap or the idea of straying away from convention.
Visit Alfabeats Nu Jazz on the web.
Alfabeats Nu Jazz at All About Jazz.
Track listing: Syeeda's Flute in Wonderland; Stones; Islamic Spires; Red Cap & The Bad Loop; L.A.P.D.; Terra Nuda; Reaching the Holy Land; Get Coltranized; Floppy Generation Blues.
Personnel: Max “Mbassado” Marzio: rap vocals; Luca Boscagin: electric guitar; Roberto Magris: piano and organ; Paolo Andriolo: electric bass; Paolo Prizzon: drums, percussion.
Marc Medwin of Bagatellen Reviews Roberto Magris Europlane New CD "IL Bello Del Jazz" - February 20, 2007
The work of Italian pianist Roberto Magris is new to me; I undertook investigation only after I heard that he would be releasing a disc with the incomparable Arthur Davis, apparently due to drop sometime later this year. However, Magris’ most recent release proved to be one of the best “straight-ahead” albums I’ve heard recently.
His playing is never showy or needlessly virtuosic, and yet he is extraordinarily nuanced in his approach to the keyboard; just listen to the way he accompanies the other musicians, notably veteran composer/instrumentalist Herb Geller. Magris is constantly sensitive to the wide dynamic and subtle color shifts in Geller’s playing, as can be heard to fantastic effect in “Stray Form.” On Geller’s solo, piano and drums lay out leaving only Geller and bassist Rudi Engel; on their return, Magris concentrates initially on higher register comping, the sound he elicits more harp-like than pianistic. Yet, his playing on “Some Other Spring”, largely a vehicle for piano and saxophone, weds Monk’s timing, and even a few of his characteristic descending runs, with Bill Evans’ harmonic language. It is wonderful to hear these two musicians interacting on such a personal way, Geller’s warm and richly vibrant tones in perfect symbiosis with the stark beauty of Magris’ chordal structures.
Europlane is versatile, engaging a wide array of styles with conviction and authority. “Parker’s Pen” is just plain fun, effortlessly “bop” with Darko Jurkovic invoking Billy Bauer’s sophistication and fluidity and Gabriele Centis embodying the space between swing and all that would follow.
The program is as varied as the players’ knowledge and appreciation of history is broad. This is an enjoyable set from a group with whom I have been privileged to become acquainted.
His playing is never showy or needlessly virtuosic, and yet he is extraordinarily nuanced in his approach to the keyboard; just listen to the way he accompanies the other musicians, notably veteran composer/instrumentalist Herb Geller. Magris is constantly sensitive to the wide dynamic and subtle color shifts in Geller’s playing, as can be heard to fantastic effect in “Stray Form.” On Geller’s solo, piano and drums lay out leaving only Geller and bassist Rudi Engel; on their return, Magris concentrates initially on higher register comping, the sound he elicits more harp-like than pianistic. Yet, his playing on “Some Other Spring”, largely a vehicle for piano and saxophone, weds Monk’s timing, and even a few of his characteristic descending runs, with Bill Evans’ harmonic language. It is wonderful to hear these two musicians interacting on such a personal way, Geller’s warm and richly vibrant tones in perfect symbiosis with the stark beauty of Magris’ chordal structures.
Europlane is versatile, engaging a wide array of styles with conviction and authority. “Parker’s Pen” is just plain fun, effortlessly “bop” with Darko Jurkovic invoking Billy Bauer’s sophistication and fluidity and Gabriele Centis embodying the space between swing and all that would follow.
The program is as varied as the players’ knowledge and appreciation of history is broad. This is an enjoyable set from a group with whom I have been privileged to become acquainted.
Chris Mann Reviews Roberto Magris' Alfabeats Nu Jazz new CD "Stones" - February 12, 2007
… Stones by Alfabeats Nu Jazz
I heard the music of this band some weeks ago and it instantly sounded fresh and very groove-laden. Once founder, keyboard player and composer Roberto Magris had mailed me the 2006 release “Stones” and his press kit, I started to realise that I’ve been missing some very good music coming out of Italy… That music includes his own “Il Bello del Jazz” and 4 albums released by the current band in its pre-2003 incarnation DMA.
It’s immediately obvious from Syeeda’s Flute in Wonderland that Magris is equally at home on piano and organ, and the organ sound on this funky number is somehow retro but up-to-date at the same time. Max Marzio’s rap vocals fit on top of this acid jazz groove nicely and you’ll be nodding your head to this right away, as you will to the insistent and urgent L.A.P.D., the irresistible Get Coltranized and the riotous Floppy Generation Blues. The jazz and hip-hop blend so well you soon stop thinking about it. The rap on Terra Nuda is in Italian and for broad-minded listeners who can get to MC Solaar and other European rap artists, this will please.
You’ll hear some great guitar playing too – Luca Boscagin burns on Floppy Generation Blues and Paolo Andriolo’s electric bass solo on the same song gives me just what I’m looking for! A rock guitar sound opens the majestic title track and the complex, atmospheric Islamic Spires, where it doubles Magris’ melody line on the organ.
You have to hear Red Cap & the Bad Loop for yourself. I just smile whenever I hear it – an urban nursery rhyme. As for the atmospheric Reaching the Holy Land, with its haunting percussion (and what sounds like a didgeridoo) I find it moving and I’m totally drawn in. It’s very hard to play this just once…
To hear this music for yourself, go to CD Baby and if you want to hear more about Roberto Magris visit www.allaboutjazz.com (search for Magris). To keep up with this fine band, visit www.alfabeats.net
I heard the music of this band some weeks ago and it instantly sounded fresh and very groove-laden. Once founder, keyboard player and composer Roberto Magris had mailed me the 2006 release “Stones” and his press kit, I started to realise that I’ve been missing some very good music coming out of Italy… That music includes his own “Il Bello del Jazz” and 4 albums released by the current band in its pre-2003 incarnation DMA.
It’s immediately obvious from Syeeda’s Flute in Wonderland that Magris is equally at home on piano and organ, and the organ sound on this funky number is somehow retro but up-to-date at the same time. Max Marzio’s rap vocals fit on top of this acid jazz groove nicely and you’ll be nodding your head to this right away, as you will to the insistent and urgent L.A.P.D., the irresistible Get Coltranized and the riotous Floppy Generation Blues. The jazz and hip-hop blend so well you soon stop thinking about it. The rap on Terra Nuda is in Italian and for broad-minded listeners who can get to MC Solaar and other European rap artists, this will please.
You’ll hear some great guitar playing too – Luca Boscagin burns on Floppy Generation Blues and Paolo Andriolo’s electric bass solo on the same song gives me just what I’m looking for! A rock guitar sound opens the majestic title track and the complex, atmospheric Islamic Spires, where it doubles Magris’ melody line on the organ.
You have to hear Red Cap & the Bad Loop for yourself. I just smile whenever I hear it – an urban nursery rhyme. As for the atmospheric Reaching the Holy Land, with its haunting percussion (and what sounds like a didgeridoo) I find it moving and I’m totally drawn in. It’s very hard to play this just once…
To hear this music for yourself, go to CD Baby and if you want to hear more about Roberto Magris visit www.allaboutjazz.com (search for Magris). To keep up with this fine band, visit www.alfabeats.net
Kansas City Loses a Jazz Icon-Jay McShann - December 9, 2006
PCAMI* sends it's love and sympathy to the McShann family on the loss of Kansas City's own jazz icon.
I appreciate the sage advise shared by Jay McShann several weeks before one of my music project in Hollywood, California October 11, 12 and 16, 2006. The performance was dedicated to the jazz icon from Kansas City...Jay McShann.
I appreciate the sage advise shared by Jay McShann several weeks before one of my music project in Hollywood, California October 11, 12 and 16, 2006. The performance was dedicated to the jazz icon from Kansas City...Jay McShann.
Budd Kopman @ eJazzNews.com Reviews Roberto Magris "New" CD "Il Bello Del Jazz" - December 9, 2006
Il Bello Del Jazz is surely one of the most entrancing
mainstream albums of the year. This group swings so
effortlessly and with such sureness that its music
transcends such labels as mainstream and becomes the simple
the Ellingtonian “good.” While this release sounds entirely
different than Apparition, it has that same smile-inducing
warmth that comes from musicians who have lived this music
and are playing from within it.
Herb Geller, regardless of his age (77), is a joy to listen
to. Having grown up in the Swing Era with Benny Carter as
his idol, Geller exudes that same ease and nonchalance that
Carter (a truly amazing multi-instrumentalist, from reeds to
trumpet) had, mixed with the sweetness of Johnny Hodges. His
tone has a soft edge, and he knows exactly when to add just
the right amount of vibrato.
It is unclear why Roberto Magris decided to call Geller, who
has been living in Germany since 1958, and was nowhere near
Magris' native Trieste, Italy. Whatever the reason, the
recording session centered around a heavy bag of scores that
Geller brought, saying that he wanted to do some tunes he
had not recorded before. Magris gladly accepted, and in fact
some of the tracks are unrehearsed takes directly recorded
as they were played.
Magris is a clean and crystalline pianist who, while at ease
with many modern styles, drops so completely in the swinging
groove that one would think he was of the same generation as
Geller. The most impressive part of what Magris does is the
way he leads the rhythm section behind Geller. While his
soloing is tasteful and to the point—and always lets that
Italian sunshine through—his comping and interaction with
bassist Rudi Engl and drummer Gabriele Centis provides a
solid center upon which Geller can soar.
A perfect example of this cohesion is the Geller original
“Stray Form.” After having full band support to state the
theme, Geller begins his improvisation with just bass
backing, and when the piano enters, the magic begins, only
to be bettered when the rhythm section double-times and
swings madly, only to duplicate the whole feel during a
Magris solo. Marvelous. Guitarist Darko Jurkovic is a
wonderful surprise, playing inventive and surprising solos
using a Stanley Jordan-like hammer-on technique on four
tracks.
Il Bello Del Jazz is a superior effort from a group of
musicians who clearly were having a good time making this
music.
Track listing: No Sadness; Stray Form; Some Other Spring;
Key Largo; A New town Is A Blue Town; Here I’ll Stay; Ah
Moore; Il Bello Del Jazz; Pretty Woman; Parker’s Pen;
Deception.
Personnel: Roberto Magris: piano; Herb Geller: alto
saxophone; Darko Jurkovic: guitar; Rudi Engel: bass;
Gabriele Centis: drums.
mainstream albums of the year. This group swings so
effortlessly and with such sureness that its music
transcends such labels as mainstream and becomes the simple
the Ellingtonian “good.” While this release sounds entirely
different than Apparition, it has that same smile-inducing
warmth that comes from musicians who have lived this music
and are playing from within it.
Herb Geller, regardless of his age (77), is a joy to listen
to. Having grown up in the Swing Era with Benny Carter as
his idol, Geller exudes that same ease and nonchalance that
Carter (a truly amazing multi-instrumentalist, from reeds to
trumpet) had, mixed with the sweetness of Johnny Hodges. His
tone has a soft edge, and he knows exactly when to add just
the right amount of vibrato.
It is unclear why Roberto Magris decided to call Geller, who
has been living in Germany since 1958, and was nowhere near
Magris' native Trieste, Italy. Whatever the reason, the
recording session centered around a heavy bag of scores that
Geller brought, saying that he wanted to do some tunes he
had not recorded before. Magris gladly accepted, and in fact
some of the tracks are unrehearsed takes directly recorded
as they were played.
Magris is a clean and crystalline pianist who, while at ease
with many modern styles, drops so completely in the swinging
groove that one would think he was of the same generation as
Geller. The most impressive part of what Magris does is the
way he leads the rhythm section behind Geller. While his
soloing is tasteful and to the point—and always lets that
Italian sunshine through—his comping and interaction with
bassist Rudi Engl and drummer Gabriele Centis provides a
solid center upon which Geller can soar.
A perfect example of this cohesion is the Geller original
“Stray Form.” After having full band support to state the
theme, Geller begins his improvisation with just bass
backing, and when the piano enters, the magic begins, only
to be bettered when the rhythm section double-times and
swings madly, only to duplicate the whole feel during a
Magris solo. Marvelous. Guitarist Darko Jurkovic is a
wonderful surprise, playing inventive and surprising solos
using a Stanley Jordan-like hammer-on technique on four
tracks.
Il Bello Del Jazz is a superior effort from a group of
musicians who clearly were having a good time making this
music.
Track listing: No Sadness; Stray Form; Some Other Spring;
Key Largo; A New town Is A Blue Town; Here I’ll Stay; Ah
Moore; Il Bello Del Jazz; Pretty Woman; Parker’s Pen;
Deception.
Personnel: Roberto Magris: piano; Herb Geller: alto
saxophone; Darko Jurkovic: guitar; Rudi Engel: bass;
Gabriele Centis: drums.
All About Jazz -Glenn Astarita Reviews Roberto Magris "New" CD "Il Bello Del Jazz" - December 9, 2006
Italian jazz pianist Roberto Magris spotlights
American alto saxophonist Herb Geller on this recently
issued release. The album features Magris singing
notes and the band's buoyant fusion of swing and
samba along with Geller's emotionally-charged lines
and flotation-like melodies. At times Geller conjures
up remembrances of tenor sax great Stan Getz via his
fluent delivery and warm-toned phrasings.
In addition, the saxophonist's harmonically
alluring and lushly arranged take on Sondheim's
"Pretty Woman" is worth its weight in gold.
Nothing flashy or groundbreaking, but Magris and his
ensemble have forged an intimate working relationship
here, on this radiantly enacted modern-mainstream jazz
effort.
Herb Geller: alto sax;
Darko Jurkovic: guitar(selected tracks);
Roberto Magris: piano;
Rudi Engel:bass;
Gabrielle Centis: drums
American alto saxophonist Herb Geller on this recently
issued release. The album features Magris singing
notes and the band's buoyant fusion of swing and
samba along with Geller's emotionally-charged lines
and flotation-like melodies. At times Geller conjures
up remembrances of tenor sax great Stan Getz via his
fluent delivery and warm-toned phrasings.
In addition, the saxophonist's harmonically
alluring and lushly arranged take on Sondheim's
"Pretty Woman" is worth its weight in gold.
Nothing flashy or groundbreaking, but Magris and his
ensemble have forged an intimate working relationship
here, on this radiantly enacted modern-mainstream jazz
effort.
Herb Geller: alto sax;
Darko Jurkovic: guitar(selected tracks);
Roberto Magris: piano;
Rudi Engel:bass;
Gabrielle Centis: drums
PCAMI* Welcomes International Percussionist Gumbi Ortiz - November 20, 2006
Gumbi Ortiz was discovered by guitar virtuoso Al Di Meola in 1986 who immediately made him a member of the jazz legend’s band. Gumbi Ortiz has toured the world with his brand of thunder on percussion for more than 19 years. Although Gumbi had been playing music for many years before meeting Al Di Meola, all of his work in music seemed to prepare him for his next musical step...the world stage. Now, with his debut CD entitled “Miami”, Gumbi has exploded on the smooth jazz charts accompanied by some of the greatest names in smooth jazz…Jeff Lorber, Jay Beckenstein, Dave Weckl, Al Di Meola, Brandon Fields , Eric Marienthal and Rachel Z. PCAMI* is happy to have him as a part of our prolific musical family.
For more information about Gumbi Ortiz "click" on our "Bio" tab or visit www.gumbiortiz.com
For more information about Gumbi Ortiz "click" on our "Bio" tab or visit www.gumbiortiz.com
Alessandro Armando @ JazzItalia Reviews Roberto Magris Europlane "Il Bello Del Jazz" - November 9, 2006
Roberto Magris racconta, con il suo ultimo disco Il bello del jazz, non solo un incontro, quello con il saxofonista Herb Geller, ma anche un'intuizione, una sensazione.
Nuovamente, come è stato per molti lavori precedenti del pianista triestino e in particolare in Check In (Soulnote 2005), Magris imprime il taglio di Europlane, sia alla sua composizione che nell'esecuzione. La sensazione proposta dai cinque musicisti in questo lavoro, registrato già nel 2003, è appunto il "bello" del jazz: non un giudizio, non una ponderata scelta critica, non un'inseguita idea, ma più semplicemente una musica che si ascolta con la facilità che si prova quando ci si avvicina a ciò che piace, che si ritiene di poter descrivere esaurientemente con la abusata vaghezza del termine "bello".
La precisione, l'armonia, la pacatezza del pianoforte di Magris, mai dominante, permettono di iniziare a scoprire che cosa ci sia di bello nel jazz. Non esauriscono il jazz (non lo si pretendeva!), non sfiorano le profondità estetiche della musica afroamericana, non rendono omaggi indimenticabili, a chi già non dimenticato lo era di suo, non innovano, ma con straordinaria "cortesia" accompagnano, avvicinano. Perché Magris disegna un palco e un suono, grazie soprattutto ad una ritmica perfetta con Rudi Engel al contrabbasso e Gebriele Centis alla batteria, che ha la forza di farsi ascoltare per ricordarne senza retorica la sua naturalezza, la sua semplicità, il suo "bello", il suo gusto.
Nuovamente, come è stato per molti lavori precedenti del pianista triestino e in particolare in Check In (Soulnote 2005), Magris imprime il taglio di Europlane, sia alla sua composizione che nell'esecuzione. La sensazione proposta dai cinque musicisti in questo lavoro, registrato già nel 2003, è appunto il "bello" del jazz: non un giudizio, non una ponderata scelta critica, non un'inseguita idea, ma più semplicemente una musica che si ascolta con la facilità che si prova quando ci si avvicina a ciò che piace, che si ritiene di poter descrivere esaurientemente con la abusata vaghezza del termine "bello".
La precisione, l'armonia, la pacatezza del pianoforte di Magris, mai dominante, permettono di iniziare a scoprire che cosa ci sia di bello nel jazz. Non esauriscono il jazz (non lo si pretendeva!), non sfiorano le profondità estetiche della musica afroamericana, non rendono omaggi indimenticabili, a chi già non dimenticato lo era di suo, non innovano, ma con straordinaria "cortesia" accompagnano, avvicinano. Perché Magris disegna un palco e un suono, grazie soprattutto ad una ritmica perfetta con Rudi Engel al contrabbasso e Gebriele Centis alla batteria, che ha la forza di farsi ascoltare per ricordarne senza retorica la sua naturalezza, la sua semplicità, il suo "bello", il suo gusto.
Edward Kane @ Jazz Review .com Reviews Roberto Magris Europlane "Il Bello Del Jazz" - November 9, 2006
Italian pianist Roberto Magris leads a pan-European quintet on the fine new CD Il Bello Del Jazz. Most notable among the group's members is the fine alto saxophonist Herb Geller, a veteran of the West Coast jazz scene of the fifties and sixties who has long resided in Germany. The date is split more or less evenly between originals penned by either Magris or Geller on the one hand and standards on the other. The tracks more or less alternate in mood between hard bop and what could be described as a cross between impressionism and cool jazz.
Roberto Magris is a joy to listen to. The album begins with a pretty solo piano introduction that sets up his composition "No Sadness" perfectly, and on subsequent tracks he adapts to the challenges of each piece nicely--expertly handling the bop changes of Geller's "Stray Form," playing some nice blues and gospel tinged licks on Benny Carter's "Key Largo" and Adler and Ross's "A New Town Is A Blue Town," laying down nice accompaniment throughout. Geller's playing is equally remarkable, achieving airy tones on the ballads, then playing with a tenor-like robustness on the harder stuff. The rhythm team of bassist Rudi Engel, drummer Gabriele Centis and (on four tracks) guitarist Darko Jurkovic are always right there as well. Well worth seeking out.
Roberto Magris is a joy to listen to. The album begins with a pretty solo piano introduction that sets up his composition "No Sadness" perfectly, and on subsequent tracks he adapts to the challenges of each piece nicely--expertly handling the bop changes of Geller's "Stray Form," playing some nice blues and gospel tinged licks on Benny Carter's "Key Largo" and Adler and Ross's "A New Town Is A Blue Town," laying down nice accompaniment throughout. Geller's playing is equally remarkable, achieving airy tones on the ballads, then playing with a tenor-like robustness on the harder stuff. The rhythm team of bassist Rudi Engel, drummer Gabriele Centis and (on four tracks) guitarist Darko Jurkovic are always right there as well. Well worth seeking out.
Craig Hurst @ Jazz Review .com Reviews Roberto Magris Europlane "Il Bello Del Jazz" - November 9, 2006
The recording Check In fronted by Italian pianist and composer Roberto Magris is a magnificent collection of original compositions “book ended” with standards by Cole Porter and Johnny Mercer. Recorded in September of 2003, Check In comprises 8 tunes covering nearly an hour of wonderfully swinging straight ahead jazz.
The CD kicks off with an up tempo free form improvisation between the two tenors trading 8s accompanied only by the drums. This mix leads right into a burning rendition of the Johnny Mercer classic “I Remember You.” Each of the saxophonists plays neatly off each other in an intricate counterpoint of melodic invention. The head played by the two saxophonists leads right into a piano solo by leader Roberto Magris. Magris wastes no time demonstrating his solid technique at the keyboard as he winds deftly from one end to the other in creating an exciting solo. Not to be outdone tenor saxophonist Michael Erian also contributes a buoyant invention.
Stand out original tunes on Check In includes the Magris’ “Blues for my Sleeping Baby” and “African Mood.” With both tenors playing the head in unison, “Blues for my Sleeping Baby” sounds strongly reminiscent of Charles Mingus’ writing. This is even more strongly evident with occasional stop time measures catching the listener’s ear momentarily off guard as part of developing melodic interest. “African Mood” is a modal vamp that brings to mind the modal work of McCoy Tyner and especially Herbie Hancock’s “Maiden Voyage.” The soprano saxophone solos are both soothing melodic forays that weave trance-like lines over the slow moving harmonies below.
“Luci Lontane” is a slower more laid back tune that again provides an excellent vehicle for the dual saxophonists as they demonstrate their abilities to create interesting lines of counterpoint around each other’s melodies. “What Blues,” another modal tune is laid out with a simple 4 bar riff played in harmony by the two saxes. Both saxophonists stretch right out in very comfortable sounding solos, letting it all hang out with hanging it out over the edge.
The three standards that close the recording are excellent examples of the fine musicianship on Check In. “Why Did I Choose You” provides the ensemble an opportunity to play a lush ballad and create musical statements that are meaningful and profound. Cole Porter’s “I Concentrate on You” is another fun romp with tenor and soprano saxes playing the head with a smooth and refined delivery. Solos likewise flow like fine wine from the saxophones of Lakatos and Erian and there is no lack of swing anywhere in the ensemble. Magris again demonstrates his improvisational artistry creating a compelling solo. The final tune “Che Cosa C’E’” played only by Magris, bassist Robert Balzar and drummer Gabriele Centis is delightful coda to the previous set of tunes, and allows leader Magris to truly have the last word on this recording.
Check In by Roberto Magris Europlane is a CD that packs a lot of listening delight. The musicianship is superb, the original tunes are inventive, and the interpretations of standards are refreshing. For lovers of good straight ahead jazz, Check In would be a most welcome addition to a jazz CD collection.
The CD kicks off with an up tempo free form improvisation between the two tenors trading 8s accompanied only by the drums. This mix leads right into a burning rendition of the Johnny Mercer classic “I Remember You.” Each of the saxophonists plays neatly off each other in an intricate counterpoint of melodic invention. The head played by the two saxophonists leads right into a piano solo by leader Roberto Magris. Magris wastes no time demonstrating his solid technique at the keyboard as he winds deftly from one end to the other in creating an exciting solo. Not to be outdone tenor saxophonist Michael Erian also contributes a buoyant invention.
Stand out original tunes on Check In includes the Magris’ “Blues for my Sleeping Baby” and “African Mood.” With both tenors playing the head in unison, “Blues for my Sleeping Baby” sounds strongly reminiscent of Charles Mingus’ writing. This is even more strongly evident with occasional stop time measures catching the listener’s ear momentarily off guard as part of developing melodic interest. “African Mood” is a modal vamp that brings to mind the modal work of McCoy Tyner and especially Herbie Hancock’s “Maiden Voyage.” The soprano saxophone solos are both soothing melodic forays that weave trance-like lines over the slow moving harmonies below.
“Luci Lontane” is a slower more laid back tune that again provides an excellent vehicle for the dual saxophonists as they demonstrate their abilities to create interesting lines of counterpoint around each other’s melodies. “What Blues,” another modal tune is laid out with a simple 4 bar riff played in harmony by the two saxes. Both saxophonists stretch right out in very comfortable sounding solos, letting it all hang out with hanging it out over the edge.
The three standards that close the recording are excellent examples of the fine musicianship on Check In. “Why Did I Choose You” provides the ensemble an opportunity to play a lush ballad and create musical statements that are meaningful and profound. Cole Porter’s “I Concentrate on You” is another fun romp with tenor and soprano saxes playing the head with a smooth and refined delivery. Solos likewise flow like fine wine from the saxophones of Lakatos and Erian and there is no lack of swing anywhere in the ensemble. Magris again demonstrates his improvisational artistry creating a compelling solo. The final tune “Che Cosa C’E’” played only by Magris, bassist Robert Balzar and drummer Gabriele Centis is delightful coda to the previous set of tunes, and allows leader Magris to truly have the last word on this recording.
Check In by Roberto Magris Europlane is a CD that packs a lot of listening delight. The musicianship is superb, the original tunes are inventive, and the interpretations of standards are refreshing. For lovers of good straight ahead jazz, Check In would be a most welcome addition to a jazz CD collection.