George M. Duke was an American keyboardist, singer-songwriter and record producer, he worked with numerous artists as arranger, music director, writer and co-writer, record producer and as a professor of music. He first made a name for himself with the album The Jean-Luc Ponty Experience with the George Duke Trio, he was known for thirty-odd solo albums, of which A Brazilian Love Affair from 1979 was his most popular, as well as for his collaborations with other musicians Frank Zappa. George Duke was born in San Rafael and raised in Marin City. At four years old he became interested in the piano, his mother told him about this experience. "I don't remember it too well. I ran around saying'Get me a piano, get me a piano!'" He began his formal piano studies at the age of 7 at a local Baptist church. He attended Tamalpais High School in Mill Valley before earning a bachelor's degree in trombone and composition with a minor in contrabass from the San Francisco Conservatory of Music in 1967, he earned a master's degree in composition from San Francisco State University in 1975.
Although Duke started playing classical music, he credited his cousin Charles Burrell for convincing him to switch to jazz. He explained that he "wanted to be free" and Burrell "more or less made the decision for me" by convincing him to "improvise and do what you want to do", he taught a course on American culture at Merritt College in Oakland. Duke recorded his first album in 1966, his second was with whom he performed in San Francisco. After Frank Zappa and Cannonball Adderley heard him play, they invited him to join their bands, he spent two years with Zappa as a member of The Mothers of Invention, two years with Adderley returned to Zappa. Zappa played guitar solos on his album Feel, he recorded I Love the Blues She Heard My Cry with Zappa's bandmates Ruth Underwood, Tom Fowler, Bruce Fowler and jazz guitarist Lee Ritenour. In 1975, Duke fused jazz with pop and soul music on his album From Me to You. Three years his album Reach for It entered the pop charts, his audiences increased. During the 1980s his career moved to a second phase as he spent much of his time as a record producer.
He produced pop and R&B hits for A Taste of Honey, Jeffrey Osborne, Deniece Williams. His clients included Anita Baker, Rachelle Ferrell, Everette Harp, Gladys Knight, Melissa Manchester, Barry Manilow, The Pointer Sisters, Smokey Robinson, Take 6. Duke worked as musical director at the Nelson Mandela tribute concert at Wembley Stadium in London in 1988. In 1989, he temporarily replaced Marcus Miller as musical director of NBC's late-night music performance program Sunday Night during its first season, he was a judge for the second annual Independent Music Awards. He died on August 2013 in Los Angeles at the age of 67 from chronic lymphocytic leukemia; the Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Duke has received two awards out of nine nominations, he was inducted into The SoulMusic Hall of Fame at SoulMusic.comAl Jarreau recorded the tribute album My Old Friend: Celebrating George Duke with songs written by Duke. Appearing the album were Gerald Albright, Stanley Clarke, Dr. John, Lalah Hathaway, Boney James, Marcus Miller, Jeffrey Osborne, Kelly Price, Dianne Reeves, Patrice Rushen.
The album received the 2015 NAACP Image Award for Outstanding Jazz Album. The George Duke Quartet Save the Country Solus The Inner Source Faces in Reflection Feel The Aura Will Prevail I Love the Blues, She Heard My Cry Liberated Fantasies From Me to You Reach for It The 1976 Solo Keyboard Album Don't Let Go Follow the Rainbow Master of the Game A Brazilian Love Affair Dream On Guardian of the Light Rendezvous Thief in the Night George Duke Night After Night Snapshot Illusions Is Love Enough? After Hours Cool Face the Music Duke In a Mellow Tone Dukey Treats Déjà Vu DreamWeaver Official website George Duke on IMDb George Duke at NPR Music George Duke interview at allaboutjazz.com "New album, more treats". George Duke interview at allaboutjazz.com "Deja Vu". George Duke 2012 Interview Part 1 at Soulinterviews.com. George Duke 2012 Interview Part 2 at Soulinterviews.com. George Duke at Find a Grave Interview with George Duke - NAMM Oral History Library, July 20, 2010
A big band is a type of musical ensemble that consists of ten or more musicians with four sections: saxophones, trombones, a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular; the term "big band" is used to describe a genre of music. One problem with this usage is. Big bands started as accompaniment for dancing. In contrast with the emphasis on improvisation, big bands relied on written compositions and arrangements, they gave a greater role to bandleaders and sections of instruments rather than soloists. Big bands have four sections: trumpets, saxophones, a rhythm section of guitar, double bass, drums; the division in early big bands was to be two or three trumpets, one or two trombones, three saxophones, a rhythm section. In 1930, big bands consisted of three trumpets, three trombones, three saxophones, a rhythm section of four instruments. Guitar replaced the banjo, double bass replaced the tuba. In the 1940s, Stan Kenton's band and Woody Herman's band used up to five trumpets, four trombones, five saxophones, a rhythm section.
An exception is Duke Ellington. Boyd Raeburn drew from symphony orchestras by adding to his band flute, French horn and timpani. Typical big band arrangements are written in strophic form with the same phrase and chord structure repeated several times; each iteration, or chorus follows twelve bar blues form or thirty-two-bar song form. The first chorus of an arrangement is followed by choruses of development; this development may take the form of improvised solos, written soli sections, "shout choruses". An arrangement's first chorus is sometimes preceded by an introduction, which may be as short as a few measures or may extend to chorus of its own. Many arrangements contain an interlude similar in content to the introduction, inserted between some or all choruses. Other methods of embellishing the form include cadential extensions; some big ensembles, like King Oliver's, played music, half-arranged, half-improvised relying on head arrangements. A head arrangement is a piece of music, formed by band members during rehearsal.
They experiment memorize the way they are going to perform the piece, without writing it on sheet music. During the 1930s, Count Basie's band used head arrangements, as Basie said, "we just sort of start it off and the others fall in." Before 1914, social dance in America was dominated by steps such as polka. As jazz migrated from its New Orleans origin to Chicago and New York City, suggestive dances traveled with it. During the next decades, ballrooms filled with people doing Lindy Hop; the dance duo Vernon and Irene Castle popularized the foxtrot while accompanied by the Europe Society Orchestra led by James Reese Europe. One of the first bands to accompany the new rhythms was led by a drummer, Art Hickman, in San Francisco in 1916. Hickman's arranger, Ferde Grofé, wrote arrangements in which he divided the jazz orchestra into sections that combined in various ways; this intermingling of sections became a defining characteristic of big bands. In 1919, Paul Whiteman hired Grofé to use similar techniques for his band.
Whiteman was educated in classical music, he called his new band's music symphonic jazz. The methods of dance bands marked a step away from New Orleans jazz. With the exception of Jelly Roll Morton, who continued playing in the New Orleans style, bandleaders paid attention to the demand for dance music and created their own big bands, they incorporated elements of Broadway, Tin Pan Alley and vaudeville. Duke Ellington led his band at the Cotton Club in Harlem. Fletcher Henderson's career started when he was persuaded to audition for a job at Club Alabam in New York City, which turned into a job as bandleader at the Roseland Ballroom. At these venues, which themselves gained notoriety and arrangers played a greater role than they had before. Hickman relied on Whiteman on Bill Challis. Henderson and arranger Don Redman followed the template of King Oliver, but as the 1920s progressed they moved away from the New Orleans format and transformed jazz, they were assisted by a band full of talent: Coleman Hawkins on tenor saxophone, Louis Armstrong on cornet, multi-instrumentalist Benny Carter, whose career lasted into the 1990s.
Swing music began appearing in the early 1930s and was distinguished by a more supple feel than the more literal 44 of early jazz. Walter Page is credited with developing the walking bass, though earlier examples exist, such as Wellman Braud on Ellington's Washington Wabble from 1927; this type of music flourished through the early 1930s, although there was little mass audience for it until around 1936. Up until that time, it looked upon as a curiosity. After 1935, big bands rose to prominence playing swing music and held a major role in defining swing as a distinctive style. Western swing musicians formed popular big bands during the same period. There was a considerable range of styles among the hundreds of popular bands. Many of the better known bands reflected the individuality of the bandleader, the lead arranger, the personnel. Count Basie played a relaxed, propulsive swing, Bob Crosby more of a dixieland style, Benny Goodman a hard driving swing, Duke Ellington's compositions were varied and sophisticated.
Many bands featured strong instrumentalists whose sounds dominated, such as the clar
Milton "Bags" Jackson was an American jazz vibraphonist thought of as a bebop player, although he performed in several jazz idioms. He is remembered for his cool swinging solos as a member of the Modern Jazz Quartet and his penchant for collaborating with several hard bop and post-bop players. A expressive player, Jackson differentiated himself from other vibraphonists in his attention to variations on harmonics and rhythm, he was fond of the twelve-bar blues at slow tempos. He preferred to set the vibraphone's oscillator to a low 3.3 revolutions per second for a more subtle tremolo. On occasion, Jackson played piano professionally. Jackson was born on January 1, 1923 in Detroit, the son of Manley Jackson and Lillie Beaty Jackson. Like many, he was surrounded by music from an early age that of religious meetings: "Everyone wants to know where I got that funky style. Well, it came from church; the music I heard was open, impromptu soul music". He started on guitar when he was seven on piano at 11.
While attending Miller High School, he played drums in addition to timpani and violin and sang in the choir. At 16, he sang professionally in a local touring gospel quartet called the Evangelist Singers, he took up the vibraphone at 16 after hearing Lionel Hampton play the instrument in Benny Goodman's band. Jackson was discovered by Dizzy Gillespie, who hired him for his sextet in 1945 his larger ensembles. Jackson acquired experience working with the most important figures in jazz of the era, including Woody Herman, Howard McGhee, Thelonious Monk, Charlie Parker. In the Gillespie big band, Jackson fell into a pattern that led to the founding of the Modern Jazz Quartet: Gillespie maintained a former swing tradition of a small group within a big band, his included Jackson, pianist John Lewis, bassist Ray Brown, drummer Kenny Clarke while the brass and reeds took breaks; when they decided to become a working group in their own right, around 1950, the foursome was known at first as the Milt Jackson Quartet, becoming the Modern Jazz Quartet in 1952.
By that time Percy Heath had replaced Ray Brown. Known at first for featuring Jackson's blues-heavy improvisations exclusively, in time the group came to split the difference between these and Lewis's more ambitious musical ideas, boiling the quartet down to a chamber jazz style that highlighted the lyrical tension between Lewis's mannered, but roomy and Jackson's unapologetic swing; the MJQ had a long independent career of some two decades until disbanding in 1974, when Jackson split with Lewis. The group reformed in 1981, continued until 1993, after which Jackson toured alone, performing in various small combos, although agreeing to periodic MJQ reunions. From the mid-1970s to the mid-1980s, Jackson recorded for Norman Granz's Pablo Records, including Jackson, Brown & Company, featuring Jackson with J. J. Johnson on trombone, Ray Brown on bass, backed by Tom Ranier on piano, guitarist John Collins, drummer Roy McCurdy. In 1989, Jackson was awarded an Honorary Doctorate of Music from Berklee College of Music.
His composition "Bags' Groove" is a jazz standard. He was featured on the NPR radio program Jazz Profiles; some of his other signature compositions include "The Late, Late Blues", "Bluesology", "Bags & Trane". Jackson died of liver cancer in Manhattan, at the age of 76, he was married to Sandra Whittington from 1959 until his death. 1948: Howard McGhee and Milt Jackson with Howard McGhee 1948–52: Wizard of the Vibes 1952: Milt Jackson 1949–56: Roll'Em Bags 1949–56: Meet Milt Jackson 1955: Milt Jackson Quartet 1956: Opus de Jazz 1956: Ballads & Blues 1956: The Jazz Skyline 1956: Jackson's Ville 1957: Plenty, Plenty Soul 1957: Bags & Flutes 1958: Soul Brothers – with Ray Charles 1959: Bean Bags – with Coleman Hawkins 1959: Bags' Opus 1960: Bags & Trane – with John Coltrane 1960: The Ballad Artistry of Milt Jackson 1961: Soul Meeting – with Ray Charles 1961: Vibrations 1961: Very Tall – with Oscar Peterson Trio 1961: Statements 1961: Bags Meets Wes! – with Wes Montgomery 1962: Big Bags 1962: Invitation 1962: For Someone I Love 1963: Milt Jackson Quintet Live at the Village Gate 1964: Much in Common with Ray Brown 1964: Jazz'n' Samba 1964: I/We Had a Ball - 1 track + 3 with Quincy Jones 1964: In a New Setting 1965: Ray Brown / Milt Jackson with Ray Brown 1965: Milt Jackson at the Museum of Modern Art 1966: Born Free 1968: Milt Jackson and the Hip String Quartet 1969: That's the Way It Is featuring Ray Brown 1969: Just the Way It Had to Be featuring Ray Brown 1969: Memphis Jackson with the Ray Brown Big Band 1971: Reunion Blues with Oscar Peterson 1972: Sunflower 1972: Cherry with Stanley Turrentine 1973: Goodbye with Hubert Laws 1974: Olinga 1975: The Milt Jackson Big 4
The double bass, or the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is a standard member of the orchestra's string section, as well as the concert band, is featured in concertos and chamber music in Western classical music; the bass is used in a range of other genres, such as jazz, 1950s-style blues and rock and roll, psychobilly, traditional country music, bluegrass and many types of folk music. The bass is a transposing instrument and is notated one octave higher than tuned to avoid excessive ledger lines below the staff; the double bass is the only modern bowed string instrument, tuned in fourths, rather than fifths, with strings tuned to E1, A1, D2 and G2. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family; however the body shape where it curves into the neck matches the viol family whereas in the rest of the violin family, the body meets the neck with no blending curve.
The double bass is played by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm. Classical music uses the natural sound produced acoustically by the instrument, as does traditional bluegrass. In jazz and related genres, the bass is amplified; the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4, which serve to accommodate a player's height and hand size; these sizes do not reflect the size relative to 4⁄4 bass. It is constructed from several types of wood, including maple for the back, spruce for the top, ebony for the fingerboard, it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, it embodies features found in the older viol family. Like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings.
In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm, except for some solos and occasional written parts in modern jazz that call for bowing. In classical pedagogy all of the focus is on performing with the bow and producing a good bowed tone. Bowed notes in the lowest register of the instrument produce a dark, mighty, or menacing effect, when played with a fortissimo dynamic. Classical bass students learn all of the different bow articulations used by other string section players, such as détaché, staccato, martelé, sul ponticello, sul tasto, tremolo and sautillé; some of these articulations can be combined. Classical bass players do play pizzicato parts in orchestra, but these parts require simple notes, rather than rapid passages. Classical players perform both bowed and pizz notes using vibrato, an effect created by rocking or quivering the left hand finger, contacting the string, which transfers an undulation in pitch to the tone.
Vibrato is used to add expression to string playing. In general loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear fundamental bass for the string section. Mid- and higher-register melodies are played with more vibrato; the speed and intensity of the vibrato is varied by the performer for an emotional and musical effect. In jazz and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play rapid pizzicato walking basslines for extended periods; as well and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that Classical bassists encounter in the standard orchestral literature, which are whole notes, half notes, quarter notes, occasional eighth note passages.
In jazz and related styles, bassists add semi-percussive "ghost notes" into basslines, to add to the rhythmic feel and to add fills to a bassline. The double bass player stands, or sits on a high stool, leans the instrument against their body, turned inward to put the strings comfortably in reach; this stance is a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family—the narrower shoulders facilitate playing the strings in their higher registers. The double bass is regarded as a modern descendant of the string family of instruments that originated in Europe in the 15th century, as such has been described as a bass Violin. Before the 20th century many double basses had only three strings, in contrast to the five to six strings typical of instruments in the viol family or the four strings of instruments in the violin family; the double bass's proportions are di
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Diana Jean Krall, OC, OBC is a Canadian jazz pianist and singer, known for her contralto vocals. She has sold more than 6 million albums over 15 million albums worldwide. On December 11, 2009, Billboard magazine named her the second Jazz Artist of the Decade, establishing her as one of the best-selling artists of her time. Krall is the only jazz singer to have had eight albums debuting at the top of the Billboard Jazz Albums. To date, she has won three Grammy Awards and eight Juno Awards, she has earned nine gold, three platinum, seven multi-platinum albums. Krall was born on November 16, 1964, in Nanaimo, British Columbia, the daughter of Adella A. an elementary school teacher, Stephen James "Jim" Krall, an accountant. Krall's only sibling, Michelle, is a former member of the Royal Canadian Mounted Police. Krall's father played piano at home and her mother sang in a community choir. Krall began studying piano herself at the age of four, took exams through The Royal Conservatory of Music. In high school she was a member of a student jazz group.
Krall won a scholarship to attend the Berklee College of Music in Boston, where she studied from 1981 to 1983, before going to Los Angeles to play jazz. She returned to Canada to release her first album in 1993. Krall's mother died of multiple myeloma in 2002, within months of the deaths of Krall's mentors Ray Brown and Rosemary Clooney. Krall and British musician Elvis Costello were married on December 6, 2003, at Elton John's estate outside London, their twin sons, Dexter Henry Lorcan and Frank Harlan James, were born December 6, 2006, in New York City. In 1993, Krall released her first album, Stepping Out, which she recorded with John Clayton and Jeff Hamilton, it caught the attention of producer Tommy LiPuma, who produced her second album, Only Trust Your Heart. Her third album, All for You: A Dedication to the Nat King Cole Trio, was nominated for a Grammy and continued for 70 weeks in the Billboard jazz charts. Love Scenes became a hit record with the trio of Krall, Russell Malone and Christian McBride.
In August 2000, Krall paired with Tony Bennett for a 20-city tour. They paired again for a song on the TV series Spectacle: Elvis Costello with... Orchestral arrangements by Johnny Mandel provided the background for the album When I Look In Your Eyes; the band mix was kept, following arrangements on The Look of Love created by Claus Ogerman. The title track from the album, a cover of the Casino Royale standard popularized in the late 1960s by Dusty Springfield and Sérgio Mendes, reached number 22 on the adult contemporary chart. In September 2001, Krall began a world tour, her concert at the Paris Olympia was recorded and released as her first live record, Diana Krall – Live in Paris. The album included covers of Billy Joel's "Just The Way You Are" and Joni Mitchell's "A Case Of You"; the 2001 movie "The Score", starring Robert De Niro and Marlon Brando, featured a recording of Krall's entitled: "I'll Make It Up As I Go." This song was composed by fellow Canadian, David Foster. After marrying Costello, Krall worked with him as a lyricist and began to compose her own songs, resulting in the album The Girl in the Other Room.
The album, released in April 2004 rose to the top five in the United Kingdom and made the Australian top 40 album charts. She joined Ray Charles on his Genius Loves Company album in 2004 for the song "You Don't Know Me." In late May 2007, Krall was featured in a Lexus ad campaign. That year she sang "Dream a Little Dream of Me" with piano accompaniment by pianist Hank Jones. Quiet Nights was released on March 31, 2009. Krall produced Barbra Streisand's album Love Is the Answer, released on September 29, 2009. In 2011, Krall went on a private retreat to Sri Lanka. In September 2012, she accompanied Paul McCartney at Capitol Studios in a live performance of his album Kisses on the Bottom, shown live on the internet. On September 13, 2012, Krall performed "Fly Me to the Moon" at astronaut Neil Armstrong's memorial service in Washington, D. C. Glad Rag Doll was released on October 2, 2012. Wallflower is her 12th studio album, released on February 2015 by Verve Records; the album was produced by David Foster.
Among the composers Krall and Foster tackled were the Eagles, Elton John and Bernie Taupin, 10cc, Neil Finn, Gilbert O'Sullivan. The title track is from Bob Dylan's "Bootleg Series." And Paul McCartney gave her his blessing to record a unreleased original he'd written for his own jazz-flavored Kisses on the Bottom. On May 5, 2017, Krall released her thirteenth album, through Verve Records; the album was produced by Tommy LiPuma. The album won a Juno Award as vocal jazz album of the year in 2018. On September 14, 2018, a joint album between Krall and Tony Bennett, Love Is Here to Stay, was released; the album features the song "Fascinating Rhythm," recorded by Bennett in 1949, which earned him a Guinness World Record for the "longest time between the release of an original recording and a re-recording of the same single by the same artist" — 68 years and 342 days. Officer of the Order of Canada - 2005 Member of the Order of British Columbia - 2000 Honorary Ph. D. from the University of Victoria.
Induction into Canada's Walk of Fame. - 2004 Nanaimo Harbourfront Plaza was renamed Diana Krall Plaza. - 2008 Honorary B
Brian Blade is an American jazz drummer, session musician, singer-songwriter. Blade was raised in Shreveport, Louisiana; the first music he experienced was gospel and songs of praise at the Zion Baptist Church where his father, Brady L. Blade, Sr. has been the pastor for fifty-two years. In elementary school, music appreciation classes were an important part of his development and at age nine, he began playing the violin. Inspired by his older brother, Brady Blade, Jr., the drummer at Zion Baptist Church, Brian shifted his focus to the drums throughout middle and high school. During high school, while studying with Dorsey Summerfield, Jr. Blade began listening to the music of John Coltrane, Charlie Parker, Miles Davis, Art Blakey, Thelonious Monk, Elvin Jones, Joni Mitchell. By the age of eighteen, Brian moved to New Orleans to attend Loyola University. From 1988 through 1993, he studied and played with most of the master musicians living in New Orleans, including John Vidacovich, Ellis Marsalis, Steve Masakowski, Bill Huntington, Mike Pellera, John Mahoney, George French, Germaine Bazzle, David Lee, Jr. Alvin Red Tyler, Tony Dagradi and Harold Battiste.
In 1997, Blade formed The Fellowship Band with pianist Jon Cowherd, bassist Chris Thomas, saxophonists Myron Walden and Melvin Butler, guitarist Jeff Parker, pedal steel guitarist Dave Easley and guitarist Kurt Rosenwinkel. The band released its debut album, Brian Blade Fellowship, in 1998, Perceptual in 2000, Season of Changes in 2008, Landmarks in 2014, Body and Shadow in 2017. Reviewing the band's 2014 Landmarks album, John Kelman wrote: As the Fellowship Band has grown, it has moved away from overt traditional references though they're an undercurrent throughout. Instead, as it explores milestones both inner and outer, Landmarks further speaks with the singular voice that the Fellowship Band has built upon since inception. Blending folkloric references, hints of church and spiritual concerns, jazz modality and countrified touchstones, Landmarks is the perfect name for Brian Blade & The Fellowship Band's fourth album, it may have come after a long gap in time. While continuing to work with the Fellowship Band, since 2000 Blade has been a member of Wayne Shorter's quartet.
He has recorded with Daniel Lanois, Joni Mitchell, Ellis Marsalis, Marianne Faithfull, Emmylou Harris, Billy Childs, Herbie Hancock, Bob Dylan. In 2009, Blade released Mama Rosa, his first album as a singer-songwriter, with songs dedicated to his grandmother and family; the album featured Daniel Lanois, vocalists Kelly Jones and Daryl Johnson, bassist Chris Thomas, guitarists Kurt Rosenwinkel and Geoffrey Moore, pedal steel guitarists Greg Leisz and Patrick Smith, pianists Aaron Embry and Jon Cowherd. It was co-produced by Adam Samuels; the live band includes Steven Nistor on drums. On April 30, 2016, Blade played at the White House in Washington, D. C. as part of The International Jazz Day Global Concert. 2013: ECHO Jazz Award "International Artist of the Year Drums/Percussion", for Quiver. Blade uses vintage Gretsch, Ludwig and Slingerland drums, he plays. He has used a variety of cymbals over the years, including multiple ride cymbals made from Roberto Spizzichino, vintage A Zildjians, a 22" Zildjian K Constantinople Light Ride.
His acoustic guitar is a mid-1950s Gibson LG-3. 1998: Brian Blade Fellowship 2000: Perceptual 2008: Season of Changes 2009: Mama Rosa 2014: Landmarks 2017: Body and Shadow 2007: Friendly Travelers 2008: Friendly Travelers Live 2001: Real Book Stories 2004: Air and Vitamins 2012: Quiver 2013: Trilogy 2015: Children of the Light 2001: South 2004: Welcome to Life 2005: Afinidad 2007: Océanos with Edward Simon 2009: Third Occasion 2011: Graylen Epicenter 1992: Black Hope 1995: Triology 1996: Pursuance: Music of John Coltrane 2006: Beyond the Wall 1994: Black Art 1995: The New Bop 1999: Smokin' Java 2007: Truth and Reconciliation 2002: Come Away with Me 2004: Feels Like Home 2016: Day Breaks 2003: Shine 2004: Rockets 2005: Belladonna 2008: Here Is What Is 2010: Black Dub 2014: Flesh And Machine 1998: Painting with Words and Music 1998: Taming the Tiger 2002: Travelogue 2007: Shine 2003: Real Book Stories 2014: Driftwood 2016: Rising Grace 2001: Communion 2003: Songs, Stories & Spirituals 2006: Line by Line 2009: Remembrance 2014: Viva Hermeto!
1994: MoodSwing 1995: Spirit of the Moment – Live at the Village Vanguard 1996: Freedom in the Groove 1998: Timeless Tales 2002 Yaya3 2002: Elastic with Joshua Redman Elastic Band 2005: Momentum (Nonesuch] 2007: Back East 2009: Compass 2013: Walking Shadows 2018: Still Dreaming 2002: Footprints Live! 2003: Alegria 2005: Beyond the Sound Barrier 2013: Without a Net 2018: Emanon 2005: Afinidad 2006: Unicity 2009: Poesia 2013: Trio Li