All search results for: 高品質なC1000-177 関連日本語版問題集試験-試験の準備方法-最高のC1000-177 資格試験 👿 ⮆ www.goshiken.com ⮄の無料ダウンロード《 C1000-177 》ページが開きますC1000-177トレーニング資料
Press
PHILIP ROTH UNBOUND: Illuminating a Literary Legacy
Pages
the njpac news room
Pages
Press
Pages
Pages
Peter Dominguez grew up in Milwaukee, Wisconsin participating in the Music for Youth Orchestras, and performing with his father, pianist and singer Frank DeMiles. His teachers included Willard Feldman and Clyde Russell. Peter went on to study with Roger Ruggeri and Richard Davis at the University of Wisconsin, Madison, where he earned his baccalaureate and masters degrees with a teaching assistantship 1980-82.
In 1981 he was the first recipient of the Milton J. Hinton scholarship competition award. A teaching assistantship and doctoral studies with Dr. Lucas Drew at the University of Miami, Coral Gables followed in 1982-84. Eventually securing positions in both the Florida Philharmonic and Michigan State University, Peter chose MSU, served as Professor of Double Bass and Jazz Studies 1984-96, and was instrumental in developing their Jazz Studies program. During his Michigan years, he continued studies with Robert Gladstone and performed with the Detroit Symphony.
The former Principal Bass with the Lansing Symphony Orchestra and the American Sinfonietta, Peter served as Professor of Jazz Studies and Double Bass at Oberlin Conservatory of Music from 1996-2020 and directed the Oberlin Jazz Septet.
Currently he is Professor of Double Bass and Jazz Studies at the University of Wisconsin- Madison. Having pursued over 48 years of double bass performance practice in a variety of musical styles while appearing in venues through out the Americas and Europe, Peter continues to play with an impressive array of Classical, Jazz, and Latin artists.
His teaching activities include national and international classes, International Society of Bassists conferences, adjudication of international competitions, artistic direction of the Richard Davis Foundation for Young Bassist Inc annual conference in Madison Wisconsin, and the director of the bieannial Milt Hinton Institute for Studio Bass at Oberlin Conservatory. His trio recording How About This with Billy Hart and Rick Germanson is available through CD Baby and his solo recording Groove Dreams performed on Milt Hinton’s famous double bass is available through Oberlin/Naxos music.
Performance History
Classical Double Bass, *denotes Principal Double Bass
Oberlin Faculty 1996-present, * Credo Orchestra 2013 to present, *The American Sinfonietta 1991-2002, St. Petersburg Quartet 1999-2005, *Lansing Symphony Orchestra 1984-1996, Miami String Quartet 1993-1995, Los Angeles Piano Quartet 1989, *Renaud Chamber Orchestra 1987-1990, Detroit Symphony Orchestra 1986, Orchestra of Miami 1984, Miami Chamber Symphony 1983, Fort Lauderdale Symphony 1983
Jazz Double Bass, selected from 1976 to present.
Greg Bandy, Gary Bartz, Marcus Belgrave, Dave Berkman, Gene Bertoncini, Randy Brecker, Lance Bryant, Ann Hampton Callaway, Tony & Dolph Castellano, Carla Cook, Cyrus Chestnut, Pete Christlieb, John Clayton, Richie Cole, Neal Creque, Bill Cunliffe, Richard Davis, Harold Danko, Frank DeMiles, Bill Dobbins, Allen Eager, Eliane Elias, John Ellis, Robin Eubanks, Dominick Farinacci, Tommy Flanagan, Bob Fraser, Carl Fontana, Hal Galpher, Benito Gonzalez, Jamey Haddad, Jerry Hahn, Billy Hart, Eddie Henderson, Jon Hendricks, Paul Horn, Christian Howes, Joe Hunter, Drene Ivy, Carmen Intorre, Teddy Jackson Jr., Jerome Jennings, Jerry Jemmott, Henry Johnson, JJ Johnson, Sean Jones, Geoff Keezer, Ernie Krivda, Eric Lewis, John Lewis, Joe Locke, Mike Longo, Joe Lovano, Mundell Lowe, Rick Margitza, Mike Marshall, Jason Marsalis, Christian McBride, Bobby McFerrin, Jane Monheit, Michael Phillip Mossman, Mark Murphy, Larry Nozero, Ken Peplowski, Houston Person, Bucky Pizzarelli, Della Reese, Rufus Reid, Patti Richards, Chuck Robinette, Vanessa Rubin, Eddie Russ, Randy Sabien, Paul Samuels, Bobby Sanabria, Jack Shantz, Woody Shaw, Louis Smith, Mark Soskin, Clyde Stubblefield, Ira Sullivan, Dan Wall, Donald Walden, Bobby Watson, Jack Wilkins, Larry Willis, and Stevie Wonder
James Blachly is a Grammy®-winning conductor dedicated to enriching the concert experience by connecting with audiences in memorable and meaningful ways. He serves as Music Director of the Experiential Orchestra and the Johnstown Symphony Orchestra, and is a versatile guest conductor in diverse repertoire with orchestras. Blachly’s performances have been praised by The Guardian for “catch[ing] the music’s sweeping, sonorous energy,” while Musical America applauds his “sense of finesse and reverence.”
Blachly’s recent and upcoming guest conducting engagements include the New York Philharmonic, Detroit Symphony Orchestra, Rochester Philharmonic Orchestra, New Haven Symphony Orchestra, Carnegie Mellon Philharmonic, and WDR Funkhausorchester. Other recent appearances include the Williamsburg Symphony, Bohuslav Martinu Philharmonic, Malaysian Philharmonic, Spokane Symphony, Portland Symphony (ME), Danbury Symphony, and Odyssey Opera (Boston), as well as performances at Trinity Church Wall Street, Roulette, National Sawdust, Carnegie Hall, and Lincoln Center. In recent seasons, he has collaborated with soloists Paul Jacobs, Michelle Cann, Simone Porter, Charles Yang, Julia Bullock, Dashon Burton, Helga Davis, Sarah Brailey, Andrés Cárdenes, Peter Dugan, Michael Chioldi, Karen Kim, Andrew Yee, and more.
With the Experiential Orchestra (EXO), Blachly has conducted the works of Arvo Pärt at The Metropolitan Museum of Art, invited audiences to dance to Stravinsky’s Rite of Spring and Tchaikovsky’s Nutcracker, sit within the orchestra at Lincoln Center, and engage with Symphonie fantastique and Petrushka with circus choreography at The Muse in Brooklyn. During his most recent season, he led the Experiential Orchestra in a subscription concert at the Phillips Collection, in an immersive performance of Strauss’s Four Last Songs with cellist Andrew Yee and soprano Sarah Brailey, and gave the New York premiere of Julia Perry’s Violin Concerto with soloist Curtis Stewart.
In the upcoming season, EXO will perform Arvo Pärt’s Passio at the Cathedral of St. John the Divine, continue its innovative EXO:Chamber concerts, and release the world premiere recording of Julia Perry’s Violin Concerto with Curtis Stewart as part of an album of world premiere recordings titled American Counterpoint, which also includes music by Coleridge-Taylor Perkinson and Stewart. American Counterpoint is set for release in March 2024, marking Perry’s 100th birthday.
James Blachly’s reputation as a powerful advocate for undercelebrated composers was sealed with his world premiere recording with EXO of English composer Dame Ethel Smyth’s 1930 masterpiece The Prison. Released on Chandos Records, The Prison won a 2021 Grammy Award and was widely acclaimed by The New York Times, The New Yorker, Gramophone, San Francisco Chronicle, Financial Times, The Guardian, and many others. Blachly is the editor of the new Wise Music Group critical edition that has not only made modern performances and this recording possible, but has also contributed to renewed interest in Smyth’s work. This is the first-ever Grammy Award for music by Smyth, who lived from 1858-1944 and struggled her entire career to have her music judged on its merits rather than on the basis of her gender.
With the Johnstown Symphony, James Blachly has conducted the orchestra at the Flight 93 Memorial for the 20th Anniversary of 9/11, in a former steel mill in a concert that was featured on Katie Couric’s America Inside Out, and dramatically expanded access to the symphony throughout the region. During his first eight seasons with the Johnstown Symphony, Blachly has emphasized long-term relationship building with community leaders, expanding youth programs and education initiatives including annual side-by-side performances with the youth orchestra, initiating a youth concerto competition, and holding auditions for local talent to perform with the symphony on “Johnstown’s Got Talent” pops concerts.
Blachly has dedicated himself to using music to bring the Johnstown community together, creating an annual Martin Luther King Jr. concert and a Juneteenth concert in partnership with the NAACP, from which he received a commendation. During the 2023-24 season, he continues his innovative programming, bringing the symphony to the legendary War Memorial for the first time for a subscription concert, bringing Carnegie Hall’s Link Up education initiative to Johnstown for Young People’s Concerts, and expanding the JSO’s series of concerts in unconventional spaces. Over the course of his directorship, concerts are frequently sold out, both individual and season ticket sales have increased by more than 50%, and individual giving has increased 80%, a testament to the energy and enthusiasm that has defined his tenure.
In 2020, Blachly was invited to serve as the Associate Editor and Orchestral Liaison for the African Diaspora Music Project, directed by Dr. Louise Toppin. He has overseen the compilation of a database and website detailing more than 1,300 published works for orchestra by African diaspora composers. At the invitation of founder Charles Dickerson, he assisted in curating a concert celebrating works for orchestra by African Diaspora composers, and was one of six conductors to lead the Inner City Youth Orchestra of Los Angeles at the League of American Orchestras conference. A strong supporter of composers of our time, Blachly has commissioned and premiered more than 40 works by composers including Jessie Montgomery, Courtney Bryan, Viet Cuong, Michi Wiancko, Kate Copeland Ettinger, Tommy Daugherty, Patrick Castillo, Brad and Doug Balliett, and many others.
Dedicated to finding new ways of empowering audiences, Blachly is in demand as a speaker on Listening as Leadership, bringing his conducting expertise and passion for music to Fortune 500 companies, schools, and other organizations. He has also conducted dozens of educational concerts for thousands of school children. For ten years he conducted workshops and clinics for the New York Philharmonic, served as Ensemble Director for the Baltimore Symphony’s OrchKids program, and conducted clinics and appearances throughout western Pennsylvania for the JSO. From 2010 to 2015, he performed benefit concerts of Mahler symphonies with New York freelancers to launch what is now Make Music NOLA, a thriving El Sistema-Inspired program in New Orleans. In 2022, Blachly held a week-long artist residency at Montclair State University featuring composer-in-residence Jessie Montgomery. During the residency, he delivered keynote lectures on composition, conducting, and choral techniques, culminating in an Experiential Orchestra-style immersive performance. In 2016, Blachly was the only conductor from the U.S. invited to participate in the Young Conductor’s Showcase as a part of El Sistema’s 40th Anniversary celebration, and he was also the only U.S. conductor to be invited as Conducting Fellow in Maestra Marin Alsop’s final year at the Cabrillo Festival of Contemporary Music.
Also active as a composer, James Blachly studied at Mannes with Robert Cuckson and privately with Charles Wuorinen and John Corigliano. His compositions have been celebrated as “vigorous and assured” by Chamber Music America and a “splendidly crafted…tour de force” by the Miami Herald, and have been performed at The Stone, Zankel Hall, in an audience for the Pope, and broadcast live on the CBC.
I was born on December 27, 1927 in Othello, Washington, in the living quarters behind my grandparents’ store, Knepper’s Novelty Shop. I spent my childhood in Kirkland, Washington, in the house my dad built at 240 5th Avenue West. I started my musical life with my mother, who taught me to sing and to find my way around the keyboard of her piano.
In the fourth grade at school I learned to play the trumpet. My folks bought it from the Sears. I was also an amateur photographer, and was the official cameraman for my high school annual in my senior year.
I switched from trumpet to baritone horn in the sixth grade, and got to be pretty good on that instrument. I started out on the school horn, and in high school I bought one of my own with wages from after-school jobs. I won honors twice in high school band conferences in Seattle, where I played Herbert Clarke’s “Stars In A Velvety Sky” and “Sounds From The Hudson.”
My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong’s record of “West End Blues” for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band
After high school, I played sousaphone for a short time at the University of Washington in Seattle, and when I joined the Army in 1946, I played baritone horn, valve trombone and trap drums in the 51st Army Band, Fort Lewis, Washington and the Second Army Band, Fort Meade, MD until 1949.
When I got out of the Army, I returned to the U of W in Seattle, where I met drummer Buzzy Bridgeford. He had a quartet at the VFW Club (after hours), with Freddy Greenwell on tenor, Betty Christopher on piano, and Doug Goss on bass. I went there every night after my gig playing drums at the Cirque Club, and sat in on bongos.
Bassist Emma Dayhuff has followed her musical passion to places far beyond what she imagined from her childhood home on Sourdough Canyon Road in Bozeman, Montana. She tours nationally and internationally and is a graduate of the Herbie Hancock Institute of Jazz Performance in Los Angeles. Emma’s Phoenix Ensemble performed at the 2022 Hyde Park Jazz Festival and the 2022 Madison Jazz Festival. She is a member of the Esthesis Quartet which released their second record, Time Zones, in March 2023, and performed as part of New York’s Winter Jazz Festival in January 2023. She is on the 2019 record Spirit Groove with Kahil El’Zabar and David Murray with whom she performed at the first annual Emancipation Day Celebration in Baltimore in November 2022 and the Sant’Anna Jazz Festival in Sardinia, Italy in 2019.
She attended the Oberlin Conservatory of Music on scholarship where she studied with Peter Dominguez, Eddie Gomez, and Billy Hart. Upon graduation, Emma moved to Chicago where she she spearheaded a local funk band, toured with a bluegrass band, worked in Chicago’s blues scene, and was embraced by Chicago’s avant garde jazz community through her mentors Vincent Davis (Roscoe Mitchell, Art Ensemble of Chicago) and Robert Irving III (Miles Davis). Emma’s experience in recording led to her work as the recording engineer for the Chicago Symphony Orchestra for several years. She is the recording engineer for two releases by the Chicago Symphony Orchestra: Mason Bates: Anthology of Fantastic Zoology (2016) and Bruckner’s Ninth Symphony (2016) conducted by Riccardo Muti. In 2015, curious about New York, Emma put her life in a Subaru and drove 800 miles east. While in New York she performed regularly with the Victor Goines Quartet while studying with Gerald Cannon (Roy Hargrove, McCoy Tyner) and Ron Carter.
Emma traveled to Havana, Cuba in 2016 as a mentor with the Horns for Havana program. She taught students at both the Amadeo Roldán Music Conservatory and the National School of the Arts (la ENA) in Havana for 10 days. She has since given master classes and clinics in New York, Chicago, Cincinnati, Detroit, Los Angeles, Australia, Alaska, and inspired what has become Montana’s annual Livingston Jazz Festival. Emma has had opportunities to share the stage with Herbie Hancock, Cecile McLorin Salvant, David Murray, Kahil El’Zabar, Helen Sung, Jeff Parker, Dee Alexander, Isaiah Collier, Corey Wilkes, Gretchen Parlato, Robert Irving III, Patricia Barber, Darcy James Argue’s Secret Society, Victor Goines, Nicole Mitchell, Willie Pickens, Larry Willis, Victor Lewis, Grammy-nominated singer songwriter Matthew Santos, rapper Fem Dot, tap dancer Jumaane Taylor, and R&B artist Zeshan B. Emma is based in Chicago’s uniquely creative community of solid, versatile, and passionate artists, and is pursuing a Doctorate of Musical Arts at the University of Wisconsin in Madison.
William “Billy” Hart (born November 29, 1940 in Washington, D.C.) is a jazz drummer and educator who has performed with some of the most important jazz musicians in history.
Early on Hart performed in Washington, D.C. with soul artists such as Otis Redding and Sam and Dave, and then later with Buck Hill and Shirley Horn, and was a sideman with the Montgomery Brothers (1961), Jimmy Smith (1964–1966), and Wes Montgomery (1966–1968). Hart moved to New York in 1968, where he recorded with McCoy Tyner, Wayne Shorter, and Joe Zawinul, and played with Eddie Harris, Pharoah Sanders, and Marian McPartland.
Hart was a member of Herbie Hancock’s sextet (1969–1973), and played with McCoy Tyner (1973–1974), Stan Getz (1974–1977), and Quest (1980s), in addition to extensive freelance playing (including recording with Miles Davis on 1972’s On the Corner).
Billy Hart works steadily and teaches widely. Since the early 1990s Hart spends considerable time at the Oberlin Conservatory of Music, and is adjunct faculty at the New England Conservatory of Music and Western Michigan University. He also conducts private lessons through The New School and New York University. Hart often contributes to the Stokes Forest Music Camp and the Dworp Summer Jazz Clinic in Belgium.
He leads the Billy Hart Quartet with Mark Turner, Ethan Iverson, and Ben Street, which has released two albums on ECM Records.
For more than two decades she’s been on the scene, bassist/vocalist/producer/label owner and now filmmaker Mimi Jones has reigned supreme, as a side woman to an impressive coterie of musicians and as a leader with three CDs on her own Hot Tone Music label, A New Day (2009) and Balance (2014) —-her third CD for the label, Feet in the Mud, being her most powerful, propulsive, and personal recording to date. “Feet in the Mud to me means being true to one’s own self despite your race, age, gender, size etcetera,” Jones says. “It’s about finding true joy within yourself, having an open mind and spirit and a connection to the earth.”
Jones is supported by an engaging and ingenious collection of musicians: pianist Jon Cowherd (Brian Blade, Cassandra Wilson, Rosanne Cash), drummer Jonathan Barber (Kenny Barron, Kurt Elling, Erykah Badu), and soprano saxophonist Samir Zarif (Jason Marsalis, Nicholas Payton, Aaron Neville).
The jazz world is happy that Mimi Jones is on the scene. Born Miriam Sullivan in New York City on March 25, 1972 of parents from Barbados, she was raised in the Bronx. Jones grew up listening to a variety of music including Al Green, Michael Jackson, Frank Sinatra, Willie Nelson, Earth, Wind & Fire, and more. She took up the guitar at the age of twelve, studying classical guitar with her first music instructor, James Bartow, at the Harlem School of the Arts. She also studied percussion, songwriting, voice, drums, and dance. Jones switched to cello after being accepted at the famed LaGuardia High School of Music and Art because the school because they had no guitar teacher. Band director Justin DiCioccio heard her messing around with an acoustic bass and recruited her to play in the school jazz band, which at the time included budding young lions such as Abraham Burton, Eric McPherson, Walter Blanding Jr., and Michael Leonhart.
“Once I switched to bass, I began listening Jimmy Blanton and Oscar Pettiford. They had their own sound and their individual approach to weaving bass lines and improvisation. Milt Hinton took me under his wing, and gifted me a scholarship to the jazz camp at Skidmore summer camp. He had an early influence on me to sing and play bass,” Jones fondly recalls. “I grew up listening to a lot of Miles Davis, which naturally exposed me to the great Ron Carter, Sam Jones, and Paul Chambers. Later on I experienced the Oscar Peterson trio, which exposed me to Ray Brown. Wow!”
In preparation of college, with help of her mentors, Jesse Hameen II (aka Cheese), Rodney Jones, Lisle Atkinson and Linda Mcknight Mimi was able to properly prepare for her audition which eventually would award her a full scholarship at the prestigious Manhattan School of Music. Jones studied classically under the tutelage of Linda McKnight and simultaneously attended weekend classes at the Jazz mobile school on Saturday mornings with bassist Lisle Atkinson. She also studied with jazz masters such as Barry Harris, Ron Carter, Milt Hinton, Dr. Billy Taylor, Yusef Lateef, Max Roach, Maria Schneider, and bassist Guillermo Edgehill.
As a Jazz Ambassador, Mimi toured Africa, Europe, Russia, China, South and Central America, and the Caribbean for the U.S. State Department. Her vast work as a sidewoman includes gigs with Kenny Barron, Lizz Wright, Beyonce, Frank Ocean, Dianne Reeves, Tia Fuller, Ingrid Jensen, Roy Hargrove, Dee Dee Bridgewater, Nona Hendricks, Kevin Mahogany, Corey Glover, Raymond Angry, Marc Cary, Toshi Reagon, Rachel Z, Tammy McCann, Sean Jones, Cyrille Aimee, Allan Harris, Rudy Royston, Ravi Coltrane, Ralph Peterson, and Terri Lyne Carrington’s Grammy Award winning Mosaic Project.
Jones launched her own record label, Hot Tone Music, in 2009 which now has produced nine albums thus far. In addition, Mimi Jones co-directs with ArcoIris Sandoval a project called The D.O.M.E. Experience, a multimedia project that is meant to inspire its audience to become aware of environmental and social issues, within the community and globally, by original compositions performed by a 20 piece jazz orchestra, dance and cinematography. Mimi also created an original mini musical production about the great migration and harlem renaissance, with a cast of seven entitled “Next Stop Harlem”. To create more opportunities for herself as well as others she felt should have more exposure, Mimi Jones started up the annual Limitless Music Festival (NYC)in January during jazz convention week. Since 2013, Mimi has been hosting a jazz party/experimental jam called The Lab Session based in NYC, and as of October 2017 will also be hosted throughout multiple cities in the US sponsored by organization called Live it Live, that cultivates the growth of live music by bringing the musicians, the audience and the venues together. Mimi Jones was voted #2 rising star by the DownBeat polls for 3 years straight.
Composer, leader and sideman, bassist Marcus McLaurine has become one of the most sought-after artists in jazz, sharing bandstands with Dizzy Gillespie, Kenny Burrell, James Moody, Lou Donaldson, Dame Cleo Laine, Joe Williams, Jon Hendricks, Abbey Lincoln, and the Count Basie Orchestra under the direction of Thad Jones.
For thirty years, Marcus has toured with the legendary trumpeter Clark Terry. Marcus began traveling the world as a child and never stopped. Born in Omaha, Nebraska, to a military family, his youth saw him in Germany, California, Texas, New Mexico and Utah. After music studies at the University of Nebraska, twenty-two year old Marcus moved to Los Angeles and began playing electric bass in a band with guitar legend Billy Rogers, also an Omaha native. Billy convinced Marcus to hear Gene Harris and The Three Sounds play at The Tiki Lounge. Roland Haynes was playing upright bass, and Marcus was completely blown away by his use of arco. The next couple of weeks found Marcus looking for a bass. He finally bought a $150 Kay Bass in a pawn shop, and began immersing himself in Charlie Parker, John Coltrane, Miles Davis and Cannonball Adderley. Over the next few years in Los Angeles, he honed his skills and landed his first upright bass gig with the Horace Tabscott Pan African People’s Orchestra.
In 1976 Marcus entered the Air Force, became an Airman and was shipped to New Jersey. He joined the 590th Air Force Band, stationed out of McGuire A.F.B., and once again traveled the world, from the eastern seaboard to Portugal. His stint in the band even saw Marcus behind the bass drum, marching down 5th Avenue for the Veteran’s Day Parade. By the time he left the Air Force, he had earned the rank of Sergeant. Once again, a good friend helped fate along. His friendship with Clifford Adams, a world- renowned trombonist and member of Kool and The Gang for over twenty years, lead to Marcus’ first job in New York City. Adams told him, “New York needs bass players,” and Marcus has been there ever since. Then, while playing Carnegie Hall and various music festivals for trombonist Melba Liston, an opportunity came Marcus’ way that would change his life.
In 1981 Clark Terry called Melba looking for a bass player. Melba’s band was free, and she suggested Marcus. One evening at home, the phone rang. Marcus picked it up and the voice on the other end said, “This is Clark Terry.” Marcus immediately thought someone was playing a joke on him. Terry said he needed Marcus to play two gigs – a week at the Blue Note and a week in Canada. Still thinking it was some kind of hoax, Marcus agreed to meet at the Blue Note, and sure enough, it was indeed Clark Terry.
With no rehearsal, Marcus played his first set with Terry. He was nervous, regarding Terry as an icon. From that day, Terry has been a musical father to Marcus. He’s been with the band ever since. Among the highlights of Marcus’ quarter-century with Terry: meeting Nelson Mandela while performing for the 50th African National Congress in South Africa, and the night Oscar Peterson sat in with the quintet at The Village Vanguard. Marcus has been influenced by the great players and has found his own sound. “You can’t ever really sound like anybody, even when you’re trying to emulate idols.” says Marcus. “For years I tried to sound like Ron Carter, but at some point you have to let that go and let your own thing develop.” Marcus plays what he feels – he listens to the story and the emotion of the song and finds the phrasing. “I stay open and let the sound pass through.” says Marcus. “I let the song tell me what to play.” Now, in addition to his work as a leader and first-call sideman, Marcus is focusing on his burgeoning career as a composer, writing both jazz and contemporary pieces.
Multi Grammy Nominated, Emmy award winning, and Gold record Double Bassist Ranaan Meyer is most known as a founding member and performer with the string trio Time for Three, Founder and Artistic Director of Honeywell Arts Academy, and as a solo performing artist, composer and educator.
In June 2022, Time for Three released an album entitled: “Letters for the Future” on Deutsche Grammophon recording with The Philadelphia Orchestra two concertos titled “Concerto 4-3” by Pulitzer Prize and Grammy award winner Jennifer Higdon and “Contact” by Pulitzer Prize winning composer Kevin Puts. Alongside Time for Three, Ranaan recorded and composed the film scoring for Robin Wright’s Focus Feature film: LAND, and co-produced and recorded on Love Renaissance: Summer Walker’s 2nd album. Tf3 has additionally performed around the world including Musik Verein, Czech Philharmonic, Schleswig Holstein Musik Festival, Hong Kong Philharmonic Orchestra, Sydney Opera House, Royal Albert Hall, Night of the Proms Tour. In North America Time for Three has performed with almost every orchestra, NPR Tiny Desk Concerts, National Anthems at NFL, Nascar, NBA, MLB, and PGA sporting events, and more.
As Founder and Artistic Director of Honeywell Arts Academy Meyer has helped to empower each next generation of emerging artists through a philosophy called “sharing of knowledge”. In 2020 upon completing season 13 of Wabass Institute for the Double Bass, Artistic Director Ranaan Meyer, CEO Tod Minnich, CDO Cathy Gatchel and Program Director Emily Meyer expanded programs for the 2021 season forming the Honeywell Arts Academy. Founded in 2008, Wabass quickly became known to the bass community as a premier summer program. Today, Wabass alumni hold esteemed positions in the Royal Concertgebouw, Metropolitan Opera Orchestra, The Philadelphia Orchestra, Atlanta Symphony, and many more. Others have developed small ensembles and entrepreneurial initiatives like-minded to Time for Three that Meyer often refers to as “misfits of music”. The Institute now approaches season 16, and Wabass alumni are worldwide spreading the “sharing of knowledge.” The evolution of Wabass into Honeywell Arts Academy (now in year 3) is a unique emerging artist, full scholarship summer music institute held annually in Wabash, Indiana expanded into three programs featuring Resonance – Innovative Musicians, Soundboard – Pianists, and the continuation of Wabass Institute – Double Bassists. All fueled by the same mission to foster an inclusive, supportive environment where ideas are free flowing from teacher to student and vice versa which is this philosophy referred to as the “sharing of knowledge”. Each respective component comes together for an intensive period of musical development including what it takes to thrive as a musician and the invaluable effect of spreading the joy of music to positively impact the human spirit. As a National Endowment for the Arts grantee all programs of the Honeywell Arts Academy are full scholarships and funded purely by the generosity of charitable donations and grants.
As a soloist, Ranaan most recently composed his first concerto for double bass and orchestra entitled: ‘Concerto for My Family’ (2021) which is his homage to the people who lifted him up all along the way. It consists of 5 movements and is the essence of Ranaan’s compositional style you can hear through Time for Three from the last 20 years. Spending most of his time developing musically in Philadelphia playing the local jazz clubs with some of the most iconic musicians in jazz today. He also is an alumnus of The Philadelphia Youth Orchestra, Temple Prep, Manhattan School of Music, and the Curtis Institute of Music. Ranaan co-founded Time for Three while at Curtis but prior to Time for Three’s demanding touring schedule he spent several weeks per year performing and touring in the double bass section of The Philadelphia Orchestra. Although his core training was in Classical and Jazz, Ranaan’s curiosity has taken him to multiple genres of music.
Ranaan is in demand around the world presenting workshops in entrepreneurship, improvisation, memorization, performance preparation, teamwork, and overall, outside-the-box learning. He has also recorded on Michael Jackson’s final album earning a gold record and made multiple recordings with NFL films. Most of all, Meyer’s long term vision is to empower the universe to listen through THE SHARING OF KNOWLEDGE and believes if we keep the listening valve turned on there will always be potential.
A veteran of the New York City jazz scene for over 30 years, bassist Bill Moring has established a reputation as one of the city’s most in demand players. The versatile musician has proven himself equally adept at anchoring the big bands of legends Count Basie and Woody Herman, jammin’ jazz/funk and beyond with the Dave Stryker/Steve Slagle quartet or stretching harmonic and rhythmic boundaries with John Hart and Chris Potter.
Bill was born in Ft. Wayne, Indiana in 1958. After high school, he attended Indiana State University for a three semesters, also playing in cellist Hank Roberts group. He began gigging around Indianapolis and Cincinnati at the same time coming under the tutelage of local pianists Claude Sifferlen and Steve Allee. In 1980 he began working with the John Von Ohlen / Steve Allee big band, playing every week at the Jazz Kitchen in Indianapolis, recording a live record that was Grammy nominated.
Bill also had the opportunity to play locally with such notables as Dizzy Gillespie, Slide Hampton, and Cal Collins. Bill moved to New York City in 1984 and immediately began working with drummer Mel Lewis. His first road gig came when he joined Woody Herman’s Thundering Herd in 1985. In 1986, Bill received a National Endowment for the Arts Grant to study with Rufus Reid and continued his studies with the legendary Homer Mensch. In 1987, after touring with Michel LeGrand, Bill got the gig with the Count Basie Orchestra and spent the next year touring the world, performing at the Hollywood Bowl, the North Sea, Umbria, Grande Parade Du Jazz, and Pori jazz festivals among other venues.
Bill is active today teaching, recording, and performing with a wide variety of artists. Other big band experiences include the Village Vanguard Orchestra and the Toshiko Akiyoshi/Lew Tabakin Jazz Orchestra. He has played with renowned singers such as Joe Williams, Mel Torme, Diane Schurr, Dakota Staton, Maxine Sullivan, and Susannah McCorkle. He has played with jazz legends Frank Foster, Al Cohn, Clark Terry, Mickey Roker, Tommy Flanagan, Junior Cook, Roland Hanna, Vernel Fournier, Mel Lewis, and Ray Barretto. He has also performed and/or recorded with many contemporary artists including John Abercrombie, Gary Bartz, Manolo Badrena, Larry Coryell, Vic Juris, Dave Kikoski, Billy Hart, John Hart, Eddie Henderson, Joe Locke, Mulgrew Miller, Chris Potter, Dom Salvador, Dave Stryker, and James Williams. An advocate of music education, Moring has hosted an assortment of student clinics at various high school and college jazz festivals in the US and abroad and is currently on the faculty at Montclair State University, Sarah Lawrence College, and NJPAC’s Jazz for Teens. In addition to his private students, he has worked with students individually and in various sized groups at North Texas State, Rutgers, The New School, Jersey City State, Long Island University, and SUNY Purchase, among many others.
Ever since he came to New York in 1993 from Venezuela, Perdomo has emerged as one of the most in-demand sidemen – as evidenced by his celebrated work with a wide array of jazz and Latin stars – from Ravi Coltrane to Ray Barretto, and by his six critically- acclaimed recordings as a leader. The release of his magnificent new, Hot Tone label debut CD, 22, features bassist Mimi Jones’ supple, deep basslines and drummer Rudy Royston’s quicksilver rhythms, in a trio he christened The Controlling Ear Unit. “I wanted to create an environment where a sensitive player could make his own musical choices, without fear of the consequences,” Perdomo says. “The word ‘unit’ is appropriate because although the current group is a trio, it doesn’t really have to be restrained to that. It could have a different format, depending on what the music calls for.”
On 22, save for his elegant rendition of the Bees Gees’ classic ballad “How Deep is Your Love,” Perdomo delivers a stunning set of original compositions, mostly inspired by his adopted and native hometowns, and that mysterious number.
“2015 marks my twenty-second year living in New York City, and I left my hometown when I was twenty-two years old,” he says. “I remembered the exact moment when I moved, and the feelings I had had at the time…especially during the last two days in Caracas and the first two days in New York City. There again, I saw the two and two formula, and realized that there was a little recurring theme there. So I began scoring all of those memories and trying to convey them through music: translating some dates that were very significant to me into notes.”
Perdomo’s lyrical and logical pianism embodies Bud Powell’s bop-at-the-speed-of- swing, Oscar Peterson’s technical brilliance, and Ahmad Jamal’s melodic genius. And his numbers-into-notes compositional technique, which he learned from Richard DeRosa, an instructor from his Alma Mater, the Manhattan School of Music, forms the basis of two songs: “Cota Mil” a funky, labyrinthine, Patanemo-grooved number named after a prominent highway north of Caracas, which derives its compositional motifs from the dates of the Venezuelan Battle of Independence in 1821 and the Batalla de la Juventud/Battle of the Youth in 1814. The martial, “Days Gone Days Ahead,” was inspired by the day Perdomo got his US Student Visa on 8/13/93.
The rest of the CD’s tracks showcase the infinite variety of Perdomo’s musicality. “Love Tone Poem” is a wistful, 5/4-metered ballad dedicated to Jones, and “Two Sides of a Goodbye” is a funereal, avant-garde work that conjures up Perdomo’s melancholy when he left his family at the airport in Venezuela. In contrast, “Old City” is an uptempo sound portrait of an the un-gentrified Manhattan of the early nineties, where jazz clubs like Bradley’s, The Village Gate, Fat Tuesday’s and Sweet Basil’s reigned supreme. Perdomo’s evocative sound on the Fender Rhodes is also featured on the bouncy backbeat of “A Different Kind of Reality,” the contrapuntal “Light Slips In,” “Brand New Grays,” and the funkified “Looking Through You.”
Two tracks, “Weilheim (to Gerry Weil)” a reverent mid-tempo piece dedicated to Perdomo’s first teacher, the Austrian-born jazz pianist/educator Gerry Weil, and “Aaychdee (to Harold Danko)” – named after jazz Danko’s publishing company,” are Perdomo’s sonic shout-outs to his former piano teachers. “The biggest lesson I received from Gerry Weil in Venezuela, was to keep my mind open to all types of music,” he says. “With Harold (who was his instructor at MSM), that was the first time I actually heard jazz from an American point-of-view. That was a total revelation to me.”
Born in 1971 in Caracas, Perdomo, from the age of 12, was playing on Venezuelan TV and radio stations, but he eventually realized that he would have to travel to New York City to fulfill his musical destiny. “Being in a more competitive and challenging environment was a big change that I welcomed,” he says.
In 1993, Perdomo relocated to New York and enrolled with a full scholarship to the Manhattan School of Music, where he studied with Harold Danko and classical pianist Martha Pestalozzi, and earned his earned his BA Degree in 1997. Perdomo later studied with pianist extraordinaire, Sir Roland Hanna at Queens College, and received his Masters Degree in 2000. “Studying with Sir Roland Hanna …“I began to look at jazz and classical music in a new and more in-depth way and my playing evolved accordingly,” he says. Perdomo has appeared on over two hundred records, and has become a first-class sideman to artists like Dave Douglas, David Sanchez, Tom Harrell, Steve Turre, Ben Wolfe, Ray Barretto, Brian Lynch, David Gilmore, Conrad Herwig, Ignacio Berroa, Ralph Irizarry and Timbalaye and other great musicians. He was a member of Ravi Coltrane’s Quartet for ten years, and is a founding member of the Miguel Zenon Quartet. Perdomo recorded on three Grammy-nominated CD’s: Coltrane’s Influx, and Zenon’s Esta Plena, and Alma Adentro: The Puerto Rican Songbook.
Perdomo’s recordings as a leader include: Focus Point (2005), Awareness (2006), Pathways (2008), the critically-acclaimed Universal Mind (2012), with Jack DeJohnnette and Drew Gress, The Infancia Project (2012) and Links (2013).
Which brings us to 22: an amazing recording that shows how far Luis Perdomo has come and forecasts where he is going.
Rufus Reid is one of a handful of true renaissance figures in the Arts. This bassist and composer has been an active presence in the jazz world since the 1970’s. He has recorded over 500 albums, 25 under his own name, with Terrestrial Dance and Always In The Moment released in Vinyl by Newvelle Records. The 2022 CD release, Celebration, features the jazz trio with a string quartet. Reid can be heard on recordings with Dexter Gordon, Andrew Hill, The Thad Jones/Mel Lewis Quartet, Kenny Barron, Stan Getz, J.J. Johnson, Lee Konitz, Jack DeJohnette and many others.
Reid has written for strings, chamber ensembles, solo bass, jazz ensembles of varying sizes and symphony orchestras and has had the privilege of having all of them performed.
His reputation as an educator is equal to that of his musical achievements. His book The Evolving Bassist (Myriad Limited, 1974) remains the industry standard for double bass methodology. Reid and Dr. Martin Krivin created the Jazz Studies and Performance Bachelor of Music Program at William Paterson University. This program offered the first professional academically accredited Bachelor of Music in Jazz Studies in the NY, NJ, CT tri-state area.
He has received the prestigious John Simon Guggenheim Memorial Foundation Fellowship and the MacDowell Colony Grant among others. His 2014 release, Quiet Pride – The Elizabeth Catlett Project, received two Grammy Nominations; for Best Large Jazz Ensemble and for Best Instrumental Composition.
Rufus Reid continues to be the Evolving Bassist.
An accomplished sideman, a visionary educator, and a composer of note, bassist Rufus Reid possesses one of the richest and most generous tones in jazz today. As an artist, Rufus Reid defines evolution and growth. On the double bass, he seems to have reached the pinnacle of mastery on his instrument only to push the melodic, rhythmic and harmonic envelope further each time you hear him.
“As a leader, he knows just how to pace a program to satisfy an audience and musicians. He reaches out and touches people – his playing is infectious. The fun starts with him on the bandstand and spills over to the audience,” noted Billy Taylor, describing Rufus Reid. As an improviser, Reid is certainly a genius. His long-standing band with drummer Akira Tana, TanaReid, was one of the most exciting post-bop bands of the 90s, and amazingly, Reid has only improved since.
Quiet Pride – The Elizabeth Catlett Project was released in 2014 to critical acclaim by Motéma Music. Quiet Pride is a masterwork composed, arranged and conducted by Rufus Reid for a 20-piece orchestra. This CD received two nominations for the 57th GRAMMY Awards ~ Best Large Jazz Ensemble and Best Instrumental Composition for ‘Recognition’ the first movement of this suite. This five-movement suite honors five iconic sculptures by Elizabeth Catlett, a revered multi-media artist, human rights activist, and African-American heroine of the highest order, whose work is featured in museums and public places around the country. This magnicifent work is the culmination of The Beverly and Dr. Raymond Sackler Composition Commission Rufus received in 2006. “My purpose in recording Quiet Pride – The Elizabeth Catlett Project was to create a definitive, professional recording, for people who love art and who love music. It will also be an excellent educational tool as I continue my residencies and performances at colleges and universities internationally. Quiet Pride has enriched my life about what I do and why I do it.”
Reid’s 2011 Motema CD Hues of a Different Blue is powerful and refreshing. In addition to The Out Front Trio with Rufus Reid, Steve Allee and Duduka Da Fonseca, Hues of a Different Blue employs the substantial talents of another Brazilian, guitarist Toninho Horta, veteran alto saxophonist Bobby Watson, rising trumpeter Freddie Hendrix and the gifted J.D. Allen. Reid says, “In designing these arrangements, my goal was to feature the unique sound of the trio and the unique voice of each guest, in unexpected ways that would offer a new musical experience for each player, and an exciting new surprise for you as well.” In doing so, Reid has created an album of music that can best be described with one word, unforgettable; clearly for the musicians, but most importantly, for the listeners.
Released by Motéma Music in March of 2010, Out Front is a celebration of the trio’s terrific chemistry and the immense joy shared between the musicians and their audience. Inspiration fills every crevice of the music, and the band sounds all too happy to stretch “far beyond the bebop boundaries,” as Reid observes in his liner notes. Reid is a democratic leader, and Allee and Da Fonseca respond to Reid’s music with some of their finest individual performances. Reid knows when to grab the spotlight, though, as in his powerful bass solo improvisations: Reid may be one of the few who can command extended attention in the form. When asked about Rufus, John Pattituci’s eyes began to dance. “Rufus is a sage – kind, very gifted and wise. He helped me set my priorities about what it means to be a jazz bassist and my role as a foundational / compositional force in the music. As a jazz master, more people should be exposed to him as the artist, personality and entertainer that he is. He’s eloquent, witty, charming and a great ambassador for the art form. Even if they know nothing about jazz, people are captivated by the natural, engaging way he presents himself and the music.”
Reid’s professional career began in Chicago and continued outward to embrace the world. Having been the bassist of choice for dozens of major artists, including Dexter Gordon, Stan Getz, Thad Jones & Mel Lewis, Nancy Wilson, Eddie Harris, Art Farmer, and many others, Reid has now taken the lead. He is one of today’s premiere bassists on the international jazz scene. His reviews garner remarks like, “mesmerizing.”
Once you finish listening to Quiet Pride the first time, you’ll definitely want to loop back to the beginning. This is definitely a recording that makes you think, a hallmark of all good art.
Maria Miaoulis, The Celebrity Café
A monumental and inspiring work from an improvisational giant…Stunning! [Quiet Pride]
Brent Black, Critical Jazz
Here [Quiet Pride], Reid’s music is realized by 20 musicians, most of them, such as drummer Herlin Riley, standard-bearing players. Yet it’s his own voice as composer-as distinctive as the one he projected as a bassist-that makes grand statements out of mostly subtle gestures.
Larry Blumenfeld, Blu Notes
A little extra attention is merited by Rufus Reid’s “Out Front” Quintet, featuring well-known local pianist-bandleader Steve Allee at the keyboard. Reid’s acoustic bass had a warm, enveloping sound, which he pours out generously as the band’s harmonic foundation and in such solos as the one that was threaded throughout “If You Could See Me Now.” The set concluded with Reid’s lively “Glory,” and its performance reflected that quality upon the whole band. (Indy Jazz Fest)
Jay Harvey, The Indianapolis Star
Rufus Reid on upright bass playing with Indianapolis’ own Steve Allee was mesmerizing.
Indianapolis Business Journal
If Reid is to be stylistically pigeon-holed, then he is certainly the foremost lyrical bassist alive today. The lyricism, power and the delicacy of the Rufus Reid Trio continued throughout each and every piece played that day and into the evening, as the sun sank into the Pacific. Most of the time a bass lurks in the background unless it is taking a solo, but not when Reid is playing it. When all was said and done, the audience rose to its feet with applause equal to some of the intense crescendos heard earlier in the evening, with several calls for an encore. Reid mesmerized everyone with a solo rendition of Duke Ellington’s “Sophisticated Lady,” with the audience snapping its fingers in time with his bass. It was the perfect way to end a grand concert as only a master jazz musician can present.
Bill Leikam: All About Jazz
“Reid’s engagement leading his own group Tuesday night at the Jazz Showcase offered a rare opportunity to hear a formidable artist stepping to the forefront. The performance proved immensely appealing, though in often surprising ways. Reid led this band in an evening of sleek, sumptuous, exquisitely understated ensemble playing.
Shrewdly, Reid has chosen collaborators well-equipped to articulate his aesthetic for this group. Each of the musicians in this organization took his cue from Reid, who sounded as radiantly lyrical on this occasion as this listener ever has heard him. In solo statements, Reid produced phrases so delicately drawn and subtly nuanced as to suggest the work of a soft-spoken vocalist singing to an audience of one.
Reid has become one of the premiere educators of the last thirty years. His commitment to education and communicating the history of jazz is second to none. Indeed, it is hardly possible to separate his exuberance on the bandstand from his work as an educator, and his performances and lectures serve this common goal. As Dr. Billy Taylor has noted: “Look at who he’s taught, now stars in their own right, and other instrumentalists who’ve benefited from the wealth of information he communicates as second nature.”
Rufus Reid has spent a large portion of his career advancing jazz education. His passion for the music and his unique method of teaching and relating to various age groups makes him very special. He has inspired students to perform beyond their own expectations. Reid continues to work with The Jamey Aebersold Jazz Camps, The Stanford University Jazz Workshop, The Richard Davis Foundation for Young Bassists, and Ravinia’s Stean’s Institute for Young Artists.
Saxophonist Jane Ira Bloom stated, “It doesn’t matter what Rufus does, whether it is teaching, playing, or composing – he speaks bass from the heart. His sincerity pervades everything that he does.”
Reid and Dr. Martin Krivin developed the curriculum for The Jazz Studies and Performance degree program at William Paterson University in Wayne, NJ. Rufus served as Director of The Jazz Studies and Performance Program for twenty years, completing his tenure in 1999. The WPU Jazz Program continues to be considered one of the best in the country for the aspiring jazz student.
Reid travels throughout the world as a guest artist performing his compositions with both small and large ensembles, doing workshops and Master classes. His book, The Evolving Bassist – in publication since 1974 – continues to be recognized as the industry standard bass method. A millennium edition was published in 2000, and in 2003, a DVD adaptation was released.
In 1998, Mr. Reid was asked to help create and to serve as the Music Director for the premiere of the NJPAC/WBGO Jazz For Teens Program, a new educational program sponsored by the New Jersey Performing Arts Center in collaboration with Newark Public Radio.
From 1980 to 1985, Rufus was on the music panel of The National Foundation For the Advancements In The Arts, leading the ARTS Program (Art Recognition and Talent Search), for graduating high school students.
Today, Rufus Reid combines his love of teaching with his love of composition. He now culminates his University Residencies with a concert of his music. He has music for Big Bands, Small Groups, and Bass Ensembles. Rufus will work with the students, doing workshops and rehearsing small groups, big bands and bass ensembles. At the end of the week there is a concert with everyone performing. He has been doing this for several years and finds the enrichment the students receive is truly rewarding.
Initially, Harold Danko, of The Eastman School of Music reached out to Rufus in 2006 to come for a week long Residency that would finish with a concert, performing only Reid’s music. It was wildly successful. Reid Conducted a live Internet connected interactive bass class that was shared with Peabody. (Eastman School of Music has an ongoing relationship with Peabody Conservatory) This was their first Master Class via Internet. At a later date, Rufus visited Peabody for this same special Residency with Concert, and again did a live Internet Bass Master Class, this time interacting with Eastman School of Music. Admittedly, this was a special event, but it showed Rufus how valuable the extra time spent with students truly can be. And it proved that Reid’s music was accessible, interesting and fun for everyone, from performer to listener.
Through “brilliant and compelling programming” (The Strad), Sam Suggs gathers musical materials through composition, re-composition, and improvisation, melting barriers of genre and style with fresh interpretations and deft transitions between old and new worlds of sound, colored by the unique physicality and haunting resonance of the double bass and guiding audiences through unfamiliar territory with the soft palette of his voice.
Sam is the first solo bassist in 36 years to join the Concert Artists Guild roster, and was recently recognized with an award for Extraordinary Creativity at the 2017 Bradetich Foundation International Double Bass Competition.
A paradigm-shifting bassist-composer, Sam was named ‘New Artist of the Month’ (October 2015) by Musical America after winning 1st place at the 2015 International Society of Bassists Solo Competition while performing many original works.
As a collaborative bassist, he has performed at the Mostly Mozart Festival, Yellow Barn, Chamber Music Northwest, Lincoln Center, Carnegie Hall, the Kennedy Center, and with the Argus Quartet, PUBLIQuartet, Founders, Frisson Ensemble (composer-in-residence), and his contemporary jazz trio Triplepoint.
A native of Buffalo, NY and doctoral candidate at the Yale School of Music, Sam spends his time between the Northeast and the Shenandoah Valley performing with various chamber, crossover, and contemporary groups, giving recitals and masterclasses, and teaching full-time as Assistant Professor of Bass at James Madison University, as well as at the Heifetz Institute, Peabody Bass Works, Sewanee Summer Music Festival, and the Juilliard Summer Strings Program in Shanghai.
Jennifer Vincent, bassist and cellist, has been an active force on the music scene in New York City for well over a decade. She plays and has played and toured with the likes of Betty Carter, Abbey Lincoln, the famed Boy’s Choir of Harlem, Willie Martinez y La Familia, Son Sublime, the Xavier Cougat Orchestra, the Roberto Rodriguez Septet, Carmen Lundy, Harry Whitteaker (longtime artistic director and keyboardist for Roberta Flack), Jon Hendricks, the Duke Ellington Orchestra, and many other jazz and Latin notables.
Jennifer’s sound has been characterized as “Cheerfully Blantonian” by the Village Voice. Her bass lines are featured on NBC’s 75th Anniversary “Cosby Show Retrospective”, and she can be heard on commercials for Lipitor, Marriott Hotels, and Olive Garden. She has played on many film soundtracks, including “90 Miles”, a film which won Best Documentary at the 2003 Havana Film Festival. She has been featured on “City Arts”, has traveled to South America as a Jazz Ambassador for the State Department, and plays for Lincoln Center’s “Meet the Artist” series. All About Jazz has this to say about her: “Bass player Jennifer Vincent shows that she can stay with anyone when it comes to getting a bass to sing…..”
Jennifer, who started as a classically-trained cellist at Oberlin Conservatory, is equally comfortable in the jazz, Latin-jazz, and traditional Cuban musical idioms. Her bass teachers include jazz icon Ron Carter, Andy Gonzales, Ed Bennett, Buster Williams, and Cuban bass legend Orlando “Cachaito” Lopez of the Buena Vista Social Club, with whom she traveled to Cuba to study with.
Jennifer delves into music that utilizes West African, Japanese, and Middle Eastern influences with artists such as Sogbety Diomande form the Ivory Coast, the Pan-Asian Chamber Jazz Ensemble, and Algerian pianist Maurice el Medioni’s “Descarga Oriental”, which won the 2006 BBC Music Award for Best World Crossover. According to Songlines World Music magazine, “Vincent’s thick, measured New York Latin Bass, so different from anything el Medioni has previously recorded with, is perfect!”. For the past 5 years she has been touring the world over with the Duke Ellington Orchestra, carrying on the tradition of the longest-running and most legendary jazz orchestra in American history.
When it comes to black music, Washington, D.C. produces its share of game-changers. That long list includes Duke Ellington, Chuck Brown, Marvin Gaye, Shirley Horn, Roberta Flack, Bad Brains, Meshell Ndegeocello, Wale, and Oddisee. You can add Ben Williams to that venerated roster.
For more than a decade, Williams has steadily become one of the most acclaimed and versatile bassists in modern jazz. In 2009, he won the Thelonious Monk International Jazz Competition. He has performed/recorded with such giants as Pat Metheny, George Benson, Stefon Harris, David Sanborn, Lauryn Hill, Wynton Marsalis, Robert Glasper, Maxwell, and Nicholas Payton. In 2013 and 2015 Williams received the DownBeat Magazine Critics Poll Rising Star Award for Bass. Williams became a “Rising Star” when he won the 2009 Thelonious Monk International Jazz Bass Competition Award that landed him his first record-deal with Concord Records. Thereafter, he recorded and released State of Art in 2011 with his band, Sound Effect. The Album received an impressive 4.5 Star Review in DownBeat Magazine and reached #1 on the charts of iTunes and the National BillBoard. He was named the 2011 iTtunes Breakthrough Artist of the Year in the category of jazz.
As a leader, Williams revealed his talents as a keen composer and bandleader on his first two Concord Records albums – State of Art (2011) and Coming of Age (2015). As gripping as those albums are, they don’t prepare you for Williams’ newest album, I AM A MAN, released Rainbow Blonde, a new imprint co-owned by singer, songwriter, and kindred spirit, José James. Sonically, the new album departs grandly from the mostly acoustic instrumental settings of his previous albums. Williams imbued his love for modern R&B and hip-hop and his socio-political awareness subtly on State of Art and Coming of Age. But on I AM A MAN, he brings them to the fore with mesmerizing vocal-centric songs that will surely raise his profile higher in modern soul and rap circles.
With the help from sound engineer Brian Bender, I AM A MAN boasts a humid and hazy sound that recalls Soulaquarian albums released by The Roots, Erykah Badu, Bilal, D’Angelo, Common, and Roy Hargrove’s RH Factor. “I wanted to make this not just a musical statement, but sonically, I wanted to dig into a different sound. We had the opportunity to work in the studio to craft some sounds. What you hear is Brian’s brilliance with engineering. I wanted this record to deal with the past, present, and future,” Williams says.
Buster Williams is a prodigious artist whose playing knows no limits. He has played, recorded and collaborated with jazz giants such as Art Blakey, Betty Carter, Carmen McRae, Chet Baker, Chick Corea, Dexter Gordon, Jimmy Heath, Branford Marsalis, Wynton Marsalis, Gene Ammons, Sonny Stitt, Herbie Hancock, Larry Coryell, Lee Konitz, McCoy Tyner, Illinois Jacquet, Nancy Wilson, Elvin Jones, Miles Davis, the Jazz Crusaders, Ron Carter, Woody Shaw, Sarah Vaughan, Benny Golson, Mary Lou Williams, Hank Jones, Lee Morgan, Jimmy Rowles, Hampton Hawes, Cedar Walton, Bobby Hutcherson, Billy Taylor, Sonny Rollins, Count Basie, Errol Garner, Kenny Barron, Charlie Rouse, Dakota Staton, Kenny Dorham, and Freddie Hubbard, to name a few.
Mr. Williams has recorded soundtracks for movies including Les Choix des Armes; McKenna’s Gold with Gregory Peck; David Lynch’s, Twin Peaks ”Fire Walk With Me”; Spike Lee’s Clockers, and more. Television commercials include Coca-Cola, Old Spice, Tott’s Champagne, Prudential Insurance, Chemical Bank, Alpo Dog Food, HBO, and Budweiser Beer. TV shows include an appearance on the Johnny Carson Tonight Show, with Errol Garner; and the Jay Leno Tonight Show, where he performed five of his original compositions with the Branford Marsalis Tonight Show Band. Other television shows include Sesame Street, with Joe Williams; A&E (Arts and Entertainment), with Bill Cosby; The Joan Rivers Show, with Bill Cosby; The Andy Williams Show, with Nancy Wilson; the Joey Bishop Show; the Grammy Awards, with Herbie Hancock, Tony Williams and Bobby McFerrin; the Mike Douglas Show; the Today Show; etc.
Awards include a Grammy in 1979; the Min-On Art Award; the SGI Glory Award the SGI Cultural Award; the RVC Corporation RCA Best Seller Award; NEA recipient; New York Fellowship Grant; 5 Stars from Downbeat magazine for the album Crystal Reflections , listed in Who’s Who in Black America; and numerous proclamations.
Charles Anthony Williams, Jr. (nickname: Buster) was born in Camden, New Jersey on April 17, 1942. His mother, Gladys worked as a seamstress and his father, Charles Anthony Williams, Sr. (nick-name: Cholly), a bassist, worked various day jobs to support his five children, and at night played gigs to support his musical spirit. “He would prepare my lessons for me,” Buster recalls, ” and when I got home from school I was supposed to practice, then he would listen while he was eating his dinner. It was an unwritten law that I had to play it right or hear about it. I was going to be the best. I had no choice. In those days, instead of a two-car family, we were a two bass family. My father was a fan of Slam Stewart, and he strung his basses the way Slam did. Instead of the regular G-D-AE, he strung a high C; i.e., C-G-D-A. Adding the C string puts the playing of higher-pitched passages at a more comfortable position. He told me, ‘If I re-string my bass for you, you’d better be serious!’”
And Buster indeed was serious. In 1959 he began working with Jimmy Heath whose quartet included Sam Dockery on piano and the legendary Specs Wright on drums. What I learned from Jimmy about music and life was so valuable that bits and pieces of that experience continue to unfold even now. It was like taking a Time release “capsule of knowledge.” At the age of age 17, he began playing with Gene Ammons and Sonny Stitt, just one month after graduating from Camden High School in 1960, and stayed with them for a year until the band got stranded in Kansas City. My parents had told me to always keep my train fare home tucked away in a bible, which they had given me. Well this was great lookin’ out, but I would probably never have a problem, I thought. Wrong. When the problem did occur I was out on the road broke. Gene Ammons had run off with all the money and nobody got paid. Fortunately, I, along with the piano player and drummer was able to work a week with Al Hibbler, and thereby earn my train fare back home.
Back home in Camden, Buster took some courses in Composition and Harmony and Theory at Combs College of Music in Philadelphia. Then came a gig in Wilmington, Delaware with the Gerald Price Trio. Dakota Staton heard the trio and hired them on the spot. In 1962, he moved on to work with singer Betty Carter, and then Sarah Vaughan, who took him on his first European tour. He was 20 years old, on the French Riviera, and meeting musicians who would figure heavily in his future—Miles Davis, Ron Carter, Herbie Hancock, George Coleman, and Tony Williams. His big, deep, resilient and inventive playing since then has made him the bassist of choice throughout the jazz world.
In 1964 he joined Nancy Wilson, got married, and moved out to L.A. He continued to work with Nancy until he decided to return to New York in October of 1968. About 5 or 6 albums came from this relationship. During this time he also worked with and recorded 5 albums with the Jazz Crusaders; worked and recorded with Miles Davis; played with Kenny Durham and was in demand as first call for recording studio; TV, and movie dates.
As soon as he returned to New York he began working with Art Blakely, Herbie Mann, Herbie Hancock and Mary Lou Williams. This worked fine until gigs started to conflict and Buster was forced to choose. He chose to stay with the Herbie Hancock sextet which consisted of Herbie, Buster, Johnny Coles, Garnet Brown, Joe Henderson, and Tootle Heath. Between 1969 and 1972 the group metamorphosized into the final personnel: Benny Maupin, Billy Hart, Eddie Henderson, Julian Priester, and Patrick Gleason on Moog synthesizer, Herbie, and Buster.
In 1980, he was nominated for a Grammy Award for his contribution to the album “Love For Sale”/The Great Jazz Trio, with Hank Jones and Tony Williams. His arrangements and compositions have been recorded by Roy Ayers, Roy Hargrove, Art Blakely, Larry Coryell, Freddie Hubbard, Buck Hill, the Jazz Crusaders, Mary Lou Williams, and Herbie Hancock, Somewhere in the early’80’s, Buster did a tour with Herbie and Tony Williams which included the young, fresh, new on the scene trumpeter, Wynton Marsalis. Then Herbie formed a trio of himself, Buster and Al Foster on drums. For certain summer tours, Branford Marsalis, Michael Brecker, or Greg Osby were added. The trio continued working together until 1995. Also during this period there was a Grammy appearance which featured a quintet made up of Buster, Herbie, Tony, and Bobby McFerrin. In 1989, Buster recorded an album of his compositions that featured Wayne Shorter; Herbie, Al, and a brilliant trumpeter named Shunzo Ono. This project entitled “Something More,” was released on the IN+OUT lable and became the catalyst for Buster to form his own group which he calls “Something More.”
In 1991 he was awarded a National Endowment for the Arts grant to compose and perform a work for quintet, string ensemble and vocal chorus. Also that year he received a New York Foundation for the Arts Fellowship Grant.
Before forming the Buster Williams Quintet “Something More” he was a member of the world renowned cooperative quartet, Sphere, which consisted of pianist Kenny Barron; drummer Ben Riley; Buster Williams; and the late tenor saxophonist Charles Rouse. Then came his work with ”The Timeless Allstars”, featuring Buster; Cedar Walton; Billy Higgins; Curtis Fuller; Harold Land; and Bobby Hutcherson.
“After working almost continuously for 30 years as a sideman,” says Buster, “I decided it was time to take the plunge, step up to the front, play my music, and express my concept of a cohesive musical unit. I’ve served my apprenticeship under many great masters and feel that it’s my honor and privilege to carry on the lineage that makes this music such an artistically rich art form.
Bassist and composer Martin Wind was born in Flensburg, Germany in 1968 and moved to New York in 1996 to study at New York University (NYU) with a scholarship by the German Academic Exchange Service. In 1995 he earned himself a diploma as Orchestra Musician at the Music Conservatory in Cologne, Germany while studying with Prof. Wolfgang Güttler, former bassist with the Berlin Philharmonics. In 1998 he earned his master’s degree in Jazz Performance and Composition studying with Mike Richmond, Jim McNeely, Tom Boras, Mike Holober, and Kenny Werner.
Since his move to New York Martin has become a regular at all major jazz clubs and is also in demand as a session player; his credits include movies such as “The Alamo”, “Intolerable Cruelty”, “Mona Lisa Smiles”, “Fur”, “True Grit”, “The Adventures of Walter Mitty”, and “Gemini Man”. In 1995 Martin came in third at the International Thelonious Monk Bass Competition in Washington, D.C. In 1996 Martin Wind won the first Cognac Hennessy/Blue Note Jazz Search in Germany with his trio “Dreiklang” and got to record an album for Blue Note Records. In 2000 he was the first jazz musician to win the Cultural Award of his home state Schleswig-Holstein.
Martin has released more than 20 albums as leader/co-leader including his debut album “Gone with the Wind” (1993), quartet recordings “Salt & Pepper” (2007) and “Get it?” (2009), as well as the orchestral album “Turn out the Stars – music written or inspired by Bill Evans” (2014) featuring Scott Robinson (tenor sax), Bill Cunliffe (piano) and Joe La Barbera (drums), which Paquito D’Rivera called “disgustingly beautiful”. More recent releases include “Light Blue” (2018) and “White Noise” (2020), and “My Astorian Queen” (2021) in celebration of the 25th anniversary of his move to New York City. In 2022 he presented a new project, the New York Bass Quartet: in his 4 ½ star review for Downbeat Magazine, Bill Milkowski called it a “bass manifesto”.
Currently Martin is a member of the trios of Bill Mays, Dena DeRose, Bill Cunliffe, Ann Hampton Callaway, Ted Rosenthal, as well as the quartets of Matt Wilson (“Arts and Crafts”) and Ken Peplowski. Since 2013 he has also been touring with Belgian guitarist and jazz legend Philip Catherine, playing material from their duo album “New Folks” (ACT Records).
Martin Wind has recorded and/or performed with the following artists: Guidon Kremer, Christoph Eschenbach, Mstislav Rostopowitch, Lalo Schifrin, Monty Alexander, Pat Metheny, Clark Terry, Mark Murphy, Slide Hampton, Toots Thielemans, Buddy DeFranco, The Metropole Orchestra, Radio Big Bands Cologne, Hamburg, Frankfurt and Berlin, Michael Brecker, Randy Brecker, Eddie Daniels, Curtis Fuller, Phil Woods, Bud Shank, Johnny Griffin, Bucky Pizzarelli, Mike Stern, Larry Goldings, Johnny Mandel, Frank Wess, James Moody, Hank Jones, John Scofield, Sting, Ann Hampton Callaway, Michel Legrand, Mulgrew Miller, Anat Cohen, Benny Green, Vanguard Jazz Orchestra and others.
Martin Wind is on the faculty at New York University and Hofstra University; he has taught at the National Youth Jazz Orchestra Germany and the Centrum, Stanford, and Litchfield Jazz Camps among others. Martin was commissioned to write music for the American Place Theatre productions of Tim O’Brien’s “The things they carried” (2005) and Jeanette Walls’ “The Glass Castle” (2007). One of his arrangements appeared in the 2014 movie “Love is Strange” feat. John Lithgow and Tony Molina.
Since 2015 he’s been part of the Kennedy Center Honors Gala, backing up world stars such as James Taylor, Reneé Fleming, John Legend, Chaka Khan, Aretha Franklin, Herbie Hancock a.o. In 2018 he premiered his bass concerto “Legacy” with his hometown orchestra; he has also written the sonata “Into the light” for bass and piano, many arrangements, and original compositions for bass ensemble and about 100 jazz tunes and concert pieces