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If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995.
Colin Vallon Trio Rruga 2011 As much as many artists have a clear idea of where they are and where they're going, there's no denying the value of a strong producer. Colin Vallon's first two trio discs2004's Les Ombres, on the small Swiss NotsiNOISY label, and 2007's Ailleurs, on the more widely distributed Hatology labelboth demonstrated plenty of promise, albeit in contexts where it seemed as though the young Swiss pianist was like a kid in a stylistic candy store. Vallon's classical background clearly informed the music, but so, too, did an allegiance to the American tradition, through and, in particular, 's American Quartet of the mid-1970s, with plenty of freedom thrown into the mix. What elevates Rruga, the now 30 year-old pianist's debut on the even more venerable ECM label, is its clearer sense of focus and direction, two characteristics that producer has brought to hundred of jazz sessions over the last four decades.
Not that Vallon and his triowhich includes percussionist, familiar to ECM fans for his work on pianist 's (2008) and their work with singer on her label debut, the stunning April (2001)are lacking in direction, but their first recording for ECM has a greater sense of unity, a more consolidated voice that also speaks to the trio's greater longevity, with Rruga reuniting the same lineup as on Ailleurs, also featuring bassist Patrice Moret, a participant on reed man Domenic Landolf's similarly empathic New Brighton (Pirouet, 2010). The greater unity of Rruga is all the more curious for its fundamental shift in compositional input. Vallon remains its titular leader, but Rruga is the first to introduce writing from his trio mates. Rohrer contributes three tunes: 'Polygonia,' where a brooding intro leads to a moment of absolute silence, the trio emerging, like soft rays of sunshine with a stronger allegiance to time, and Vallon and Moret equal thematic partners; the simmering 'Noreia,' its gentle song form and intrinsic lyricism driven by a pulse from Vallon's left hand and Rohrer's consummate balance of timbre and tempo; and the closing 'Epilog,' with Moret's softly spoken bass intro foreshadowing its melancholy melody, dark-hewn by Vallon's languid but note-perfect performance. I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock. It was love at first sight.
This was when Blues, Soul / Gospel Style Music was becoming popular amongst kids as well as hip adults and featured Ray Charles, Big Joe Turner and The Payola era DJ's such as Alan Freed. Not many people remember that Freed's Rock n Roll Band of the 1950's was The Count Basie Orchestra featuring the Guy Singer Tony Bennett (Anthony DiBenedetto) who grew up in Astoria, NYNY right next to my Home Town Jackson Heights NYNY. I was first exposed to jazz when I heard Red Prysock, Sam The Man Taylor & groups like the Chord Cats recording of Shaboom! It made the Crew Cuts look LAME! Now Jazz, Blues, Soul, Gospel was pretty much joined at the hip back then and I learned that the tasteful Music was featured on The African American Radio Stations which led me to DJ's Like The Bruce, Jocko Henderson, Tommy Dr. Jive Smalls and eventually Symphony Sid Torin, China Valles and Len Pace. This all took place during my high school years and the following years in NYNY and South Florida.
I actually flew to Copenhagen Denmark in 1961 to see Stan Getz, (One of my top 3 heroes in the Music Bird, Pres & Getz not necessarily in that order). Sadly Getz had already left town and snuck back into NYNY where he played Birdland (Undoubtedly without a cabaret card due to smack addiction.) No problem for me as I worked for Pan American Airways at the time and enjoyed a 90% Employee Discount. I met Thelonious Monk, Stan Kenton, Warne Marsh, Lenny Tristano, Art Farmer, Benny Golson, Frank Foster, Dr. Lonnie Smith, among many others over the years. The best show I ever attended was The Randall's Island Jazz Festival NYNY 1960. Monk & Edward Ellington Kennedy AKA Duke, starred among numerous others.
I can not recall the entire Line Up but Monk brought along his Hat Collection which at the time contained I believe he told me 33 or 35 international Hats which he periodically changed often during his Solos. I have been unable to find that roster for that particular festival and since it was long ago I remember mostly Monk & Duke. Paul Gonsalvas played his legendary trademark twenty something chorus solo in between Diminuendo and Crescendo in Blue which was outstanding. The first jazz record I bought was Firstly, my Bro George was / is a Marine and he sent home his wax collection of LP's from Camp Pendleton CA before deploying to Okinawa in 1956 I think. Bird, Getz, Mulligan & Baker, Erroll Garner, Blakey's Jazz Messengers, Jazz at Newport 1956 and many more. I fell in love with Bird, Getz and Jeru & Chet for openers.
Pres to my mind takes the all time Tenor Award and Budo, Piano etc.! However I digress Getz Long Island Sound and every other Getz record that I could find that was 1957 by then and I snuck in to Birdland for the First of many times before I was 18 ( Legal drinking age back then) It wasn't until just after my 18th Birthday that I was carded much to the bouncers chagrin as he recognized me as having being an established customer by then. My advice to new listeners: Listen to the Music and keep it in the forefront not the background.
Colin Vallon Trio Le Vent
A Local Band Leader whose name escapes me once said to me Jerry you can make time for the chicks later the Music is in the now and is more important than chicks ever will be. He was correct! Next see live performances and introduce yourself to the Players most of whom will be respectful. Some, however, are unapproachable such as when I saw Miles so many times but his obvious disdain for certain fans was evident and he always walked off the stage after soloing. (Eddie Jefferson sang words to So What that so indicated this)!
By Member since: 2018.
If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month.
However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Colin Vallon Trio Rruga 2011 As much as many artists have a clear idea of where they are and where they're going, there's no denying the value of a strong producer. Colin Vallon's first two trio discs2004's Les Ombres, on the small Swiss NotsiNOISY label, and 2007's Ailleurs, on the more widely distributed Hatology labelboth demonstrated plenty of promise, albeit in contexts where it seemed as though the young Swiss pianist was like a kid in a stylistic candy store. Vallon's classical background clearly informed the music, but so, too, did an allegiance to the American tradition, through and, in particular, 's American Quartet of the mid-1970s, with plenty of freedom thrown into the mix. What elevates Rruga, the now 30 year-old pianist's debut on the even more venerable ECM label, is its clearer sense of focus and direction, two characteristics that producer has brought to hundred of jazz sessions over the last four decades.
Not that Vallon and his triowhich includes percussionist, familiar to ECM fans for his work on pianist 's (2008) and their work with singer on her label debut, the stunning April (2001)are lacking in direction, but their first recording for ECM has a greater sense of unity, a more consolidated voice that also speaks to the trio's greater longevity, with Rruga reuniting the same lineup as on Ailleurs, also featuring bassist Patrice Moret, a participant on reed man Domenic Landolf's similarly empathic New Brighton (Pirouet, 2010). The greater unity of Rruga is all the more curious for its fundamental shift in compositional input. Vallon remains its titular leader, but Rruga is the first to introduce writing from his trio mates.
Colin Vallon Ecm
Rohrer contributes three tunes: 'Polygonia,' where a brooding intro leads to a moment of absolute silence, the trio emerging, like soft rays of sunshine with a stronger allegiance to time, and Vallon and Moret equal thematic partners; the simmering 'Noreia,' its gentle song form and intrinsic lyricism driven by a pulse from Vallon's left hand and Rohrer's consummate balance of timbre and tempo; and the closing 'Epilog,' with Moret's softly spoken bass intro foreshadowing its melancholy melody, dark-hewn by Vallon's languid but note-perfect performance. I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock.
It was love at first sight. This was when Blues, Soul / Gospel Style Music was becoming popular amongst kids as well as hip adults and featured Ray Charles, Big Joe Turner and The Payola era DJ's such as Alan Freed.
Program mentor mentee mara. Program Mentor-Mentee Dalam Kejururawatan. Dan janjitemu seperti dikehendakki oleh program mentoring Bertanggungjawab keatas aktiviti dan. Program Mentor-Mentee Dalam Kejururawatan Kandungan 1. Definasi Tujuan program “mentoring” Kebaikan/kelebihan Prinsip program Ketiga. CONTOH: PROGRAM MENTOR MENTEE PROGRAM MENTOR MENTEE 2005. Untuk mencapai kecemerlangan, sesuatu usaha yang jitu haruslah dilakukan.