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benny green
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Benny Green's website features music, cds, bios, itinerary, electronic press kit, photo gallery, discography.
Born in New York in 1963, Benny Green grew up in Berkeley, California, and began classical piano studies at the age of seven. Influenced by his father, a tenor saxophonist, his attention soon turned into Jazz: “I began trying to improvise on the piano, imitating the records I’d been hearing from my father’s collection, which included a lot of Monk and Bird… it was a gradual process of teaching myself”. He played in school bands before hooking up with Jazz singer Fay Carroll: “That was good training for me in terms of accompaniment and learning about the blues, and she also gave me a chance to play trio, opening for her every night”. As a teenager he worked with Eddie Henderson, and got some big band experience with a 12-piece group led by Chuck Israels. After his graduation, Benny freelanced around the bay area for a year, and then moved to New York in the spring of 1982. Back in the Big Apple, Benny met veteran pianist Walter Bishop Jr.: “I began studying with him and he helped point me in the direction of developing my own sound, and he also encouraged me to check out and study the whole scope of Jazz piano history, so I could get a sense of how I was to fit in”. After a short stint with Bobby Watson, Green worked with Betty Carter between 1983 and 1987, the year he joined Art Blakey’s band. He remained a Jazz Messenger through late 1989, at which point he began working with Freddie Hubbard’s quintet. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto’s Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown’s Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances ...
Born in New York in 1963, Benny Green grew up in Berkeley, California, and began classical piano studies at the age of seven. Influenced by his father, a tenor saxophonist, his attention soon turned into Jazz: “I began trying to improvise on the piano, imitating the records I’d been hearing from my father’s collection, which included a lot of Monk and Bird… it was a gradual process of teaching myself”. He played in school bands before hooking up with Jazz singer Fay Carroll: “That was good training for me in terms of accompaniment and learning about the blues, and she also gave me a chance to play trio, opening for her every night”. As a teenager he worked with Eddie Henderson, and got some big band experience with a 12-piece group led by Chuck Israels. After his graduation, Benny freelanced around the bay area for a year, and then moved to New York in the spring of 1982. Back in the Big Apple, Benny met veteran pianist Walter Bishop Jr.: “I began studying with him and he helped point me in the direction of developing my own sound, and he also encouraged me to check out and study the whole scope of Jazz piano history, so I could get a sense of how I was to fit in”. After a short stint with Bobby Watson, Green worked with Betty Carter between 1983 and 1987, the year he joined Art Blakey’s band. He remained a Jazz Messenger through late 1989, at which point he began working with Freddie Hubbard’s quintet. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto’s Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown’s Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances ...
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Jan 7, 2006
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Other links at Keyboard, Piano > piano players: jazz
1. dave burrell
Pianist Dave Burrell's website features reviews, sound bites, recordings, diary,
biography. Distinguished composer-pianist Dave Burrell is a performing artist of singular stature on the international contemporary music scene. His dynamic compositions, with blues and gospel roots recall the tradition of Scott Joplin, Jelly Roll Morton, and Duke Ellington. After majoring in music at the University of Hawaii, he enrolled at Berklee College of Music in Boston in 1961. After graduating with degrees in composition/arranging and performance in 1965, he moved to New York City, where he quickly established himself as one of the most innovative and original pianists collaborating with the emerging leaders in contemporary jazz.
Burrell's Jazz Opera Windward Passage, written in collaboration with Swedish-born poet/lyricist Monika Larsson, blends opera voices with world class jazz soloists, a 21-piece jazz opera orchestra, dancers and chorus. Seldom has the classically trained voice played such a unique improvising roll as in this important, ground breaking endeavor. Burrell's dance drama, "Holy Smoke," with blue-print by Monika Larsson, is being developed for modern dance and tap. Burrell's "Jazz Sonata" for piano and violin has been completed and will be orchestrated for symphony orchestra ...
biography. Distinguished composer-pianist Dave Burrell is a performing artist of singular stature on the international contemporary music scene. His dynamic compositions, with blues and gospel roots recall the tradition of Scott Joplin, Jelly Roll Morton, and Duke Ellington. After majoring in music at the University of Hawaii, he enrolled at Berklee College of Music in Boston in 1961. After graduating with degrees in composition/arranging and performance in 1965, he moved to New York City, where he quickly established himself as one of the most innovative and original pianists collaborating with the emerging leaders in contemporary jazz.
Burrell's Jazz Opera Windward Passage, written in collaboration with Swedish-born poet/lyricist Monika Larsson, blends opera voices with world class jazz soloists, a 21-piece jazz opera orchestra, dancers and chorus. Seldom has the classically trained voice played such a unique improvising roll as in this important, ground breaking endeavor. Burrell's dance drama, "Holy Smoke," with blue-print by Monika Larsson, is being developed for modern dance and tap. Burrell's "Jazz Sonata" for piano and violin has been completed and will be orchestrated for symphony orchestra ...
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2. benny green
Benny Green's website features music, cds, bios, itinerary, electronic press kit, photo gallery, discography.
Born in New York in 1963, Benny Green grew up in Berkeley, California, and began classical piano studies at the age of seven. Influenced by his father, a tenor saxophonist, his attention soon turned into Jazz: “I began trying to improvise on the piano, imitating the records I’d been hearing from my father’s collection, which included a lot of Monk and Bird… it was a gradual process of teaching myself”. He played in school bands before hooking up with Jazz singer Fay Carroll: “That was good training for me in terms of accompaniment and learning about the blues, and she also gave me a chance to play trio, opening for her every night”. As a teenager he worked with Eddie Henderson, and got some big band experience with a 12-piece group led by Chuck Israels. After his graduation, Benny freelanced around the bay area for a year, and then moved to New York in the spring of 1982. Back in the Big Apple, Benny met veteran pianist Walter Bishop Jr.: “I began studying with him and he helped point me in the direction of developing my own sound, and he also encouraged me to check out and study the whole scope of Jazz piano history, so I could get a sense of how I was to fit in”. After a short stint with Bobby Watson, Green worked with Betty Carter between 1983 and 1987, the year he joined Art Blakey’s band. He remained a Jazz Messenger through late 1989, at which point he began working with Freddie Hubbard’s quintet. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto’s Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown’s Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances ...
Born in New York in 1963, Benny Green grew up in Berkeley, California, and began classical piano studies at the age of seven. Influenced by his father, a tenor saxophonist, his attention soon turned into Jazz: “I began trying to improvise on the piano, imitating the records I’d been hearing from my father’s collection, which included a lot of Monk and Bird… it was a gradual process of teaching myself”. He played in school bands before hooking up with Jazz singer Fay Carroll: “That was good training for me in terms of accompaniment and learning about the blues, and she also gave me a chance to play trio, opening for her every night”. As a teenager he worked with Eddie Henderson, and got some big band experience with a 12-piece group led by Chuck Israels. After his graduation, Benny freelanced around the bay area for a year, and then moved to New York in the spring of 1982. Back in the Big Apple, Benny met veteran pianist Walter Bishop Jr.: “I began studying with him and he helped point me in the direction of developing my own sound, and he also encouraged me to check out and study the whole scope of Jazz piano history, so I could get a sense of how I was to fit in”. After a short stint with Bobby Watson, Green worked with Betty Carter between 1983 and 1987, the year he joined Art Blakey’s band. He remained a Jazz Messenger through late 1989, at which point he began working with Freddie Hubbard’s quintet. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto’s Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown’s Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances ...
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3. jimmy amadie
Jazz pianist Jimmy Amadie's website features reviews, sound bites, teaching activities, biography, books and records for sale, etc ...
For more than thirty years, Jimmy Amadie has been recognized as one of the premiere jazz educators in the world. But before he dedicated his life to teaching, the 67-year-old Philadelphian was known primarily as a full-speed ahead bebop pianist and sideman to greats like Mel Torme, Woody Herman and Coleman Hawkins.
In the 1960s, Amadie was diagnosed with acute tendonitis, and eventually he was forced to abandon playing the piano entirely. New medical treatments and a series of operations allowed Amadie to return to the ivories around ten years ago, although he could only play once a month, and just a few minutes or so, before unbearable pain would cause him to stop.
Eternally optimistic, Amadie decided in the mid-1990s to record some of his favorite standards plus a few of his original compositions, which he accomplished at a rate of one song-and one take-at a time, with a period of months elapsing before he would be physically able to play again. Amazingly, Amadie's first-ever album, a collection of solo piano performances titled Always with Me, appeared in 1996, earning him accolades for both his sterling musicianship and indefatigable spirit. Reviewers noted Amadie's "elegant touch" and his "strong, swinging expression," and before long he was being featured in the top jazz magazines and on CBS's popular TV program "Sunday Morning with Billy Taylor" and National Public Radio with commentator Scott Simon ...
For more than thirty years, Jimmy Amadie has been recognized as one of the premiere jazz educators in the world. But before he dedicated his life to teaching, the 67-year-old Philadelphian was known primarily as a full-speed ahead bebop pianist and sideman to greats like Mel Torme, Woody Herman and Coleman Hawkins.
In the 1960s, Amadie was diagnosed with acute tendonitis, and eventually he was forced to abandon playing the piano entirely. New medical treatments and a series of operations allowed Amadie to return to the ivories around ten years ago, although he could only play once a month, and just a few minutes or so, before unbearable pain would cause him to stop.
Eternally optimistic, Amadie decided in the mid-1990s to record some of his favorite standards plus a few of his original compositions, which he accomplished at a rate of one song-and one take-at a time, with a period of months elapsing before he would be physically able to play again. Amazingly, Amadie's first-ever album, a collection of solo piano performances titled Always with Me, appeared in 1996, earning him accolades for both his sterling musicianship and indefatigable spirit. Reviewers noted Amadie's "elegant touch" and his "strong, swinging expression," and before long he was being featured in the top jazz magazines and on CBS's popular TV program "Sunday Morning with Billy Taylor" and National Public Radio with commentator Scott Simon ...
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4. don grolnick
A tribute to Don Grolnick website features biograpy, recordings, photo gallery,quotes, etc ...
Jazz, Don Grolnick once said with sly understatement, is an art "in which the risks are great, the rewards subtle."
But it was always his truest passion. As a youth growing up in Levittown, New York, Don became captivated by the sound of jazz. He once told an interviewer, "My father took me to see Count Basie, and I just went crazy. I didn't know why or what it was, it was just swinging so hard -- and I didn't even know what swinging meant." His first instrument was the accordion, although he soon switched to his grandparents’ piano.
The young musician began to immerse himself in the sounds of blues, bebop, and post-bop. He absorbed the music of Erroll Garner, Cannonball Adderly, Miles Davis, John Coltrane, Bill Evans, Ray Charles, Sonny Rollins, Bobby Timmons, Wynton Kelly, Herbie Hancock, McCoy Tyner, and Horace Silver, to name just a few. While still a teenager, Don began to write songs and arrangements.
on went on to attend Tufts University, majoring in philosophy. Sometime during his college years, he met up with saxophonist Michael Brecker. After Don returned to New York in 1969, Brecker asked him to join the seminal jazz fusion band Dreams. Around this time, Don also began to explore mainstream pop and funk music. As was his custom, Don threw himself into the genre, listening hard to find out what really made the music move. And indeed, he developed a pop and R&B touch so skillful and authentic that it misled some listeners (and perhaps a few critics) into seeing Don as an arriviste when he later returned to his jazz roots ...
Jazz, Don Grolnick once said with sly understatement, is an art "in which the risks are great, the rewards subtle."
But it was always his truest passion. As a youth growing up in Levittown, New York, Don became captivated by the sound of jazz. He once told an interviewer, "My father took me to see Count Basie, and I just went crazy. I didn't know why or what it was, it was just swinging so hard -- and I didn't even know what swinging meant." His first instrument was the accordion, although he soon switched to his grandparents’ piano.
The young musician began to immerse himself in the sounds of blues, bebop, and post-bop. He absorbed the music of Erroll Garner, Cannonball Adderly, Miles Davis, John Coltrane, Bill Evans, Ray Charles, Sonny Rollins, Bobby Timmons, Wynton Kelly, Herbie Hancock, McCoy Tyner, and Horace Silver, to name just a few. While still a teenager, Don began to write songs and arrangements.
on went on to attend Tufts University, majoring in philosophy. Sometime during his college years, he met up with saxophonist Michael Brecker. After Don returned to New York in 1969, Brecker asked him to join the seminal jazz fusion band Dreams. Around this time, Don also began to explore mainstream pop and funk music. As was his custom, Don threw himself into the genre, listening hard to find out what really made the music move. And indeed, he developed a pop and R&B touch so skillful and authentic that it misled some listeners (and perhaps a few critics) into seeing Don as an arriviste when he later returned to his jazz roots ...
Category:
Pianist Onaje Allan Gumb's website features reviews, sound bites, itinerary, biography, cds.
Onaje Allan Gumbs is one of the industry’s most respected and talented musical collaborators. He has worked for more than 30 years with an illustrious list of jazz, R&B and pop artists. In 1974, he created a special arrangement of "Stella By Starlight" for the New York Jazz Repertory Company as part of a concert honoring Miles Davis at Carnegie Hall. He followed that with live and recorded performances with such artists as Lenny White, Buster Williams, Cecil McBee and Betty Carter. In 1975,Onaje joined forces with trumpeter, Nat Adderley as part of his quintet contributing to the group’s releases on Atlantic and Steeplechase Records. Producer Nils Winter of Steeplechase upon hearing Onaje’s improvisations, invited the young pianist to record a solo piano project entitled Onaje.
In 1976, Onaje provided the arrangement for the song that was to become the signature piece for the late great vocalist Phyllis Hyman, "Betcha By Golly Wow." In 1978, the Woody Shaw Group, for which Onaje was pianist, won the Down Beat Reader’s Poll for Best Jazz Group and for Best Jazz Album (Rosewood).The album was later nominated for a Grammy. In 1985, Onaje lent his keyboard and arrangement skills to "Lady In My Life" on guitarist Stanley Jordan’s widely acclaimed debut album, Magic Touch on Blue Note Records.This was the 1st jazz album in history to maintain the #1 spot atop Billboard Magazine’s jazz charts for more than 50 weeks ...
Onaje Allan Gumbs is one of the industry’s most respected and talented musical collaborators. He has worked for more than 30 years with an illustrious list of jazz, R&B and pop artists. In 1974, he created a special arrangement of "Stella By Starlight" for the New York Jazz Repertory Company as part of a concert honoring Miles Davis at Carnegie Hall. He followed that with live and recorded performances with such artists as Lenny White, Buster Williams, Cecil McBee and Betty Carter. In 1975,Onaje joined forces with trumpeter, Nat Adderley as part of his quintet contributing to the group’s releases on Atlantic and Steeplechase Records. Producer Nils Winter of Steeplechase upon hearing Onaje’s improvisations, invited the young pianist to record a solo piano project entitled Onaje.
In 1976, Onaje provided the arrangement for the song that was to become the signature piece for the late great vocalist Phyllis Hyman, "Betcha By Golly Wow." In 1978, the Woody Shaw Group, for which Onaje was pianist, won the Down Beat Reader’s Poll for Best Jazz Group and for Best Jazz Album (Rosewood).The album was later nominated for a Grammy. In 1985, Onaje lent his keyboard and arrangement skills to "Lady In My Life" on guitarist Stanley Jordan’s widely acclaimed debut album, Magic Touch on Blue Note Records.This was the 1st jazz album in history to maintain the #1 spot atop Billboard Magazine’s jazz charts for more than 50 weeks ...
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