Thomas Morgan (bassist)
Thomas Morgan is an American jazz musician in contemporary jazz. Morgan began playing the cello at 7 switching to upright-bass at 14. In 2003 he received his bachelor's degree in Music from the Manhattan School of Music, where he studied with Harvie Swartz and Garry Diall, he has studied with Ray Brown and Peter Herbert. Morgan has worked with David Binney, Steve Coleman, Joey Baron, Josh Roseman, Brad Shepik, Steve Cardenas, Timuçin Şahin, Kenny Wollesen, Gerald Cleaver, Adam Rogers and Kenny Werner, he has collaborated with Jakob Bro, Dan Tepfer, Jim Black, John Abercrombie, Masabumi Kikuchi, he has performed with the Sylvie Courvoisier-Mark Feldman Quartet. Morgan was featured prominently on the 2017 ECM album Small Town in a duet setting with guitarist Bill Frisell; the album documents a 2016 live performance at the Village Vanguard. In 2014, Morgan's own trio, featuring a keyboardist and drummer, was reviewed by jazz critic Ben Ratliff in the New York Times. 2002: Down Homeless, with VNMG including Will Vinson, Peter Gabis, Steve Newcombe 2004: Monsoon, with Scott DuBois Quintet Feat.
David Liebman 2005: Minor Changes, with Liam Sillery Quintet 2005: Beauty Under Construction, with Som Sum Sam 2006: Tempest, with Scott DuBois Quintet 2006: Cities and Desire, with David Binney, Mark Turner, Craig Taborn, Dan Weiss 2007: Land Tides, with Jackson Harrison Trio 2007: That/Not, with Tyshawn Sorey 2008: 7th Heaven, with Samuel Blaser Quartet 2008: Wait Till You See Her, with John Abercrombie Quartet 2009: Pieces Of Old Sky, with Samuel Blaser Quartet 2009: Bafa, with Timuçin Şahin Quartet 2010: Timshel, with Dan Weiss Trio 2010: Black Hawk Dance, with Scott DuBois 2010: To Fly to Steal, with Sylvie Courvoisier-Mark Feldman Quartet 2010: Evanescences, with Casimir Liberski and Tyshawn Sorey 2011: Boundless, with Samuel Blaser Quartet 2011: R/B, with Nelson Veras and Stéphane Galland 2011: Quite Simply, with Angelika Niescier and Tyshawn Sorey 2011: Somatic, with Jim Black Trio 2011: Hôtel du Nord, with Sylvie Courvoisier-Mark Feldman Quartet 2011: The Windmills of Your Mind, with Paul Motian 2011: Time, with Jakob Bro 2012: As The Sea, with Samuel Blaser Quartet 2012: Sunrise, with Masabumi Kikuchi Trio 2013: Wisława, with Tomasz Stanko New York Quartet 2013: Chants, with Craig Taborn Trio 2013: City Of Broken Dreams, with Giovanni Guidi Trio 2014: Birdies For Lulu, with Sylvie Courvoisier-Mark Feldman Quartet feat Scott Colley and Billy Mintz 2014: Actuality, with Jim Black Trio 2015: Spring Rain, with Samuel Blaser Quartet 2015: Masabumi Kikuchi Ben Street Thomas Morgan Kresten Osgood, with Masabumi Kikuchi, Ben Street, Kresten Osgood 2015: This Is The Day, with Giovanni Guidi Trio 2016: Books, Bottles & Bamboo, with Anna-Lena Schnabel Quartet 2016: The Constant, with Jim Black Trio 2016: Streams, with Jakob Bro and Joey BaronWith Bill Frisell When You Wish Upon a Star Small Town List of jazz bassists Thomas Morgan at AllMusic Official website
Mark Turner (musician)
Mark Turner is an American jazz saxophonist. Born in Fairborn and raised in the small Southern California town of Palos Verdes Estates, Turner intended to become a commercial artist. In elementary school he played the clarinet, followed by the alto and tenor saxophones in high school, he attended California State University, Long Beach in the 1980s and transferred to and graduating from Berklee College of Music in 1990 before moving to New York. Turner worked at Tower Records in New York City for an extended period before working full-time as a jazz musician. In early November 2008 Turner injured two fingers on one of his hands with a power saw, but as of late February 2009 he was performing again with the Edward Simon Quartet at the Village Vanguard, he is married to Dr. Helena Hansen. Turner's sound is reminiscent of that of Warne Marsh, but he has elements of John Coltrane in his playing. Turner has mentioned both Marsh and Coltrane as influences, has used elements of both players' styles in his music.
Turner's range extends into the high altissimo register. His improvised lines tend to span several octaves and contain great harmonic and rhythmic complexity, his compositions make use of repeated patterns, odd-metered time signatures, intervallic leaps. Turner claims that his music is "unfolding like a narrative", his 2014 album Lathe of Heaven is named after Ursula K. Le Guin's novel of the same title, based on the idea of a world where the nature of reality keeps shifting. In September 2014, Turner released his first album as a leader since 2001 on ECM Records. Turner is a member of the trio Fly, which includes himself, bassist Larry Grenadier, drummer Jeff Ballard, he appears in guitarist Gilad Hekselman's Quartet, drummer Billy Hart's Quartet. Turner has recorded extensively with guitarist Kurt Rosenwinkel, saxophonist David Binney, pianist Aaron Goldberg, among others. Yam Yam The Music of Mercedes Rossy Mark Turner In This World Two Tenor Ballads Ballad Session Dharma Days Lathe of Heaven With MTB Consenting Adults With Fly Fly Sky & Country Year of the Snake With Baptiste Trotignon Share With James Moody and Larry Goldings Warner Jams, Vol. 2: The Two Tenors With Ryan Kisor On the One With Jonny King In from the Cold With Perico Sambeat AdemuzWith Jimmy Smith Damn!
With Edward Simon Edward Simon La Bikina With Aaron Goldberg Turning Point Home With Jon Gordon Witness Along the Way Possibilities With George Colligan Newcomer Unresolved With Seamus Blake Four Track Mind With Guillermo Klein Minotauro With Chris Cheek A Girl Named Joe With Lee Konitz Parallels With Joshua Redman Beyond With Matthias Lupri Same Time Twice Transition Sonic After Hours With Kurt Rosenwinkel The Enemies of Energy The Next Step Heartcore The Remedy With OAM Trio OAM Trio & Mark Turner Live in Sevilla Now and Here With Jaleel Shaw Perspective With Omer Avital Asking No Permission The Ancient Art of Giving With Billy Hart Billy Hart Quartet All Our Reasons One Is the Other With David Binney Cities and Desire Barefooted Town With Mikkel Ploug Mikkel Ploug Group Harmoniehof Faroe With Ferenc Nemeth Night Songs With Samo Salamon Mamasaal feat. Mark Turner With Enrico Rava New York Days With Diego Barber Calima With Jochen Rueckert Someone Meeting Nobody We Make the Rules Charm Offensive With Gilad Hekselman Hearts Wide Open This Just InWith SFJAZZ Collective Music of Horace Silver Music of Stevie WonderWith Ben van Gelder Reprise With Stefano Bollani Joy in Spite of Everything With Yelena Eckemoff A Touch of Radiance With Tom Harrell The Trip Infinity With Alex Koo Appleblueseagreen In This World @ Allaboutjazz.com Dharma Days @ Jazznow.com Ballad Session @ Allaboutjazz.com G. Giddins: “Turner Classic Moves,” VV, 118 G. M. Stern: “Airtime: Mark Turner: You Don’t Have to be Twenty Years Old to Succeed,” Windplayer, no.58, 10 "Saxophonist Mark Turner's Stylistic Assimilation of Warne Marsh and the Tristano School," Master's Thesis by Jimmy Emerzian, California State University, Long Beach, 2008.
Mark Turner discography at Jazzdiscography.com Turner-Marsh-Tristano Thesis download links at Emerzianmusic.com Interview with Mark Turner, by Fred Jung Grove Dictionary of Music entry by Gary Kennedy
One Is the Other
One Is the Other is an album by jazz drummer Billy Hart, released on ECM Records in 2014. The AllMusic review by Thom Jurek states "One Is the Other is the sound of an experienced and intuitive quartet speaking in a colorful and precise language composed of numerous dialects and approaches to musical speech"; the Guardian's John Fordham noted "For anyone open to spontaneous musical conversation, regardless of genre, this beautifully crafted album is to appeal – but aficionados will get more from it, since veteran drum star and former Herbie Hancock sideman Hart and his superb quartet hint at references from all over the jazz tradition". Steve Greenlee wrote in JazzTimes. One Is the Other is the group’s third effort, it is a demonstrably looser, freer affair than its predecessors. It’s as though the veteran drummer and his younger compadres—tenor saxophonist Mark Turner, pianist Ethan Iverson, bassist Ben Street—decided they’d proven themselves and can now take more risks with their music". All About Jazz correspondent John Kelman observed "with ECM paying increasing attention to North American musicians—with particular focus on a vibrant New York scene, the sublimely open One is the Other is both this quartet's best record yet, further evidence to counter those who accuse ECM's purview of being too Euro-centric."
All compositions by Billy Hart, except where noted "Lennie Groove" - 6:50 "Maraschino" - 5:51 "Teule's Redemption" - 7:21 "Amethyst" - 8:06 "Yard" - 5:07 "Sonnet for Stevie" - 8:43 "Some Enchanted Evening" - 5:19 "Big Trees" - 4:14 Billy Hart - drums Mark Turner - tenor sax Ethan Iverson - piano Ben Street - double bass
A ballad is a form of verse a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were "danced songs". Ballads were characteristic of the popular poetry and song of Ireland and Britain from the medieval period until the 19th century, they were used across Europe, in Australia, North Africa, North America and South America. Ballads are 13 lines with an ABABBCBC form, consisting of couplets of rhymed verse, each of 14 syllables. Another common form is ABCB repeated, in alternating 8 and 6 syllable lines. Many ballads were sold as single sheet broadsides; the form was used by poets and composers from the 18th century onwards to produce lyrical ballads. In the 19th century, the term took on the meaning of a slow form of popular love song and is used for any love song the sentimental ballad of pop or rock, although the term is associated with the concept of a stylized storytelling song or poem when used as a title for other media such as a film; the ballad derives its name from medieval French dance songs or "ballares", from which'ballet' is derived, as did the alternative rival form that became the French ballade.
As a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf. Musically they were influenced by the Minnelieder of the Minnesang tradition; the earliest example of a recognizable ballad in form in England is "Judas" in a 13th-century manuscript. Ballads were written to accompany dances, so were composed in couplets with refrains in alternate lines; these refrains would have been sung by the dancers in time with the dance. Most northern and west European ballads are written in ballad stanzas or quatrains of alternating lines of iambic tetrameter and iambic trimeter, known as ballad meter. Only the second and fourth line of a quatrain are rhymed, taken to suggest that ballads consisted of couplets of rhymed verse, each of 14 syllables; this can be seen in this stanza from "Lord Thomas and Fair Annet": The horse | fair Ann | et rode | upon | He amb | led like | the wind |, With sil | ver he | was shod | before, With burn | ing gold | behind |.
There is considerable variation on this pattern in every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad difficult. In southern and eastern Europe, in countries that derive their tradition from them, ballad structure differs like Spanish romanceros, which are octosyllabic and use consonance rather than rhyme. Ballads are influenced by the regions in which they originate and use the common dialect of the people. Scotland's ballads in particular, both in theme and language, are characterised by their distinctive tradition exhibiting some pre-Christian influences in the inclusion of supernatural elements such as travel to the Fairy Kingdom in the Scots ballad "Tam Lin"; the ballads do not correct version. The ballads remained an oral tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy to publish volumes of popular ballads. In all traditions most ballads are narrative in nature, with a self-contained story concise, rely on imagery, rather than description, which can be tragic, romantic or comic.
Themes concerning rural laborers and their sexuality are common, there are many ballads based on the Robin Hood legend. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas. Scholars of ballads have been divided into "communalists", such as Johann Gottfried Herder and the Brothers Grimm, who argue that ballads are communal compositions, "individualists" such as Cecil Sharp, who assert that there was one single original author. Communalists tend to see more recent printed, broadside ballads of known authorship as a debased form of the genre, while individualists see variants as corruptions of an original text. More scholars have pointed to the interchange of oral and written forms of the ballad; the transmission of ballads comprises a key stage in their re-composition. In romantic terms this process is dramatized as a narrative of degeneration away from the pure'folk memory' or'immemorial tradition'.
In the introduction to Minstrelsy of the Scottish Border the romantic poet and historical novelist Walter Scott argued a need to'remove obvious corruptions' in order to attempt to restore a supposed original. For Scott, the process of multiple recitations'incurs the risk of impertinent interpolations from the conceit of one rehearser, unintelligible blunders from the stupidity of another, omissions to be regretted, from the want of memory of a third.' John Robert Moore noted'a natural tendency to oblivescence'. According to Scott, transcribed ballads have a'flatness and insipidity' compared to their oral counterparts. European Ballads have been classified into three major groups: traditional and literary. In America a distinction is drawn between ballads that are versions of European British and Irish songs, and'Native American ballads
Albert "Tootie" Heath is an American jazz hard bop drummer, the brother of tenor saxophonist Jimmy Heath and the double-bassist Percy Heath. He first recorded in 1957 with John Coltrane. From 1958 to 1974 he worked with, among others, J. J. Johnson, Wes Montgomery, Art Farmer and Benny Golson's Jazztet, Cedar Walton, Bobby Timmons, Kenny Drew, Sonny Rollins, Dexter Gordon, Johnny Griffin, Herbie Hancock, Friedrich Gulda, Nina Simone, Yusef Lateef. In 1975, he, Percy formed the Heath Brothers, he remained with the group until 1978 left to freelance. He has recorded extensively throughout his career. Among his many workshop and classroom teaching assignments, Tootie Heath is a regular instructor at the Stanford Jazz Workshop. Tootie Heath is now the producer and leader of The Whole Drum Truth, a jazz drum ensemble featuring Ben Riley, Ed Thigpen, Jackie Williams, Billy Hart, Charlie Persip, Leroy Williams and Louis Hayes. 1969: Kawaida with Ed Blackwell, Herbie Hancock, Buster Williams 1974: Kwanza 2009: Live at Smalls 2012: Krakkle 2013: Tootie's Tempo 2014: Philadelphia Beat With Kenny Barron Peruvian Blue With Walter Benton Out of This World With Anthony Braxton In the Tradition In the Tradition Volume 2 With George Cables Skylark With the Kenny Clarke/Francy Boland Big Band Latin Kaleidoscope With John Coltrane Coltrane Lush Life With Ted Curson Quicksand With Kenny Dorham Trompeta Toccata With Art Farmer Big City Sounds with Benny Golson Art The Jazztet and John Lewis with Benny Golson The Jazztet at Birdhouse with Benny Golson New York Jazz Sextet: Group Therapy Voices All with Benny Golson Moment to Moment with Benny Golson Central Avenue Reunion With Benny Golson Take a Number from 1 to 10 The Roland Kirk Quartet Meets the Benny Golson Orchestra With Dexter Gordon Both Sides of Midnight Body and Soul Take the "A" Train The Tower of Power!
More Power! The Apartment With Bennie Green and Gene Ammons The Swingin'est With Johnny Griffin Bush Dance With Herbie Hancock The Prisoner With Jimmy Heath The Thumper Really Big! The Quota Triple Threat Swamp Seed On the Trail The Gap Sealer You've Changed You or Me With Milt Jackson Milt Jackson Quintet Live at the Village Gate Much in Common with Ray Brown With J. J. Johnson J. J. in Person! Livin' J. J. Inc. With Clifford Jordan Spellbound Starting Time These are My Roots: Clifford Jordan Plays Leadbelly In the World Half Note With Yusef Lateef Yusef Lateef's Detroit Suite 16 The Gentle Giant Hush'N' Thunder Part of the Search 10 Years Hence With Johnny Lytle Blue Vibes With Warne Marsh Back Home With Ronnie Mathews Doin' the Thang! With Charles McPherson Bebop Revisited! With Blue Mitchell A Sure Thing Mapenzi with Harold Land With Roscoe Mitchell Hey Donald In Walked Buckner With Wes Montgomery The Incredible Jazz Guitar of Wes Montgomery With Tete Montoliu Piano for Nuria Catalonian Fire Tete!
Tête à Tete Tootie's Tempo Catalonian Nights Vol. 1 Catalonian Nights Vol. 2 Catalonian Nights Vol. 3 With Don Patterson These Are Soulful Days With Cecil Payne Zodiac With Niels-Henning Orsted Pedersen Double Bass with Sam JonesWith Sonny Red Breezing With George Russell George Russell Sextet at Beethoven Hall With Bud Shank That Old Feeling With Nina Simone Little Girl Blue Nina Simone and Her Friends With Billy Taylor Billy Taylor with Four Flutes With Bobby Timmons Chun-King With Mal Waldron Impressions With Cedar Walton Soul Cycle With The Young Lions The Young Lions With Michel Sardaby Night Blossom With Guido Manusardi Trio de Jazz With Kenny Drew Dark Beauty With Roberto Magris: Morgan Rewind: A Tribute To Lee Morgan Vol. 1 One Night In With Hope And More, Vol. 1 One Night In With Hope And More, Vol. 2 Tootie Heath biography and management Brotherly Jazz: The Heath Brothers DVD Documentary Tootie Heath's MySpace page Music in Review.
Anat Cohen is a multiple Grammy nominated New York City-based jazz clarinetist and bandleader from Tel Aviv, Israel. Cohen began playing clarinet and saxophone, in 1996 studied at the Berklee College of Music, she has recorded with her brothers Avishai Cohen and Yuval Cohen. Her debut album, Place & Time, featuring Jason Lindner, Ben Street, Jeff Ballard, Avishai Cohen, was released in 2005 on Anzic Records, her latest record Happy Song was released in 2017 on Anzic Records. Cohen performs and has appeared at a number of notable jazz festivals, including the Newport Jazz Festival, Montreal International Jazz Festival, Tudo É Jazz Festival, the North Sea Jazz Festival. In 2007 she won the awards for "Up and Coming Artist" and "Clarinetist of the Year" from the Jazz Journalists Association, she was voted Clarinetist of the Year every year between 2008 and 2018 and honored as "Multi-Reedist of the Year" in 2012, 2013, 2015, 2017 by the Jazz Journalists Association. She has received multiple citations in Down Beat magazine's annual critics' and readers' polls in multiple categories: "Rising Star" in the tenor saxophone, "Rising Star" in the soprano saxophone, top ranking in the clarinet.
On 12 July 2013, she received the 2013 Paul Acket Award from the North Sea Jazz Festival in Rotterdam from the BNP Foundation. On November 27, 2017 she was nominated for two Grammy Awards - for "Outra Coisa: The Music Of Moacir Santos" in the Best Latin Jazz Album category and for "Rosa Dos Ventos" in the Best World Music Album category; as Leader Place & Time Poetica Notes From the Village Clarinetwork: Live at the Village Vanguard Claroscuro Luminosa With The Anzic Orchestra Noir With The Choro Ensemble Choro Ensemble Nosso Tempo With 3 Cohens One Braid Family Tightrope With Cyro Baptista Beat the Donkey Infinito Brazilian style Alegria Da Casa, with Trio Brasileiro Outra Coisa, with Marcello Gonçalves Rosa Dos Ventos, with Trio Brasileiro With The Anat Cohen Tentet Happy Song Official website Audio Interview with Chet Williamson Oxford Music Online
Billy Hart Quartet
Billy Hart Quartet is an album by American jazz drummer Billy Hart recorded in 2005 and released on the HighNote label. AllMusic awarded the album 4 stars with its review by Ken Dryden stating, "Since this was a working band for some time prior to the making of Quartet, the musicians were of one mind, rather than being thrown together and trying to make something out of brand new, unfamiliar charts.... The interplay between the four men and the intensity of their individual solos leave no doubt that this quartet has earned a return trip to the studio for a follow-up session". All About Jazz's John Kelman said "Quartet may be a mainstream record, but it's a wholly modernistic one where Hart's group approaches the middle from a decidedly left-of-center point of view." All compositions by Billy Hart except as indicated "Mellow B" - 9:47 "Moment's Notice" - 4:31 "Charvez" - 7:34 "Confirmation" - 7:32 "Lorca" - 8:42 "Irah" - 5:31 "Lullaby for Imke" - 6:10 "Iverson's Odyssey" - 8:19 "Neon" - 8:53 Billy Hart - drums Mark Turner - tenor saxophone Ethan Iverson - piano Ben Street - bass