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david hazeltine
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Pianist David Hazeltine's website features reviews, sound bites, itinerary, biography, cds.
David Hazeltine is one of a handful of young pianists who has successfully forged his own distinctive style and musical voice out of the accumulated greatness and weight of a modern piano tradition. David's influences extend from Art Tatum and Bud Powell to such great living masters as Buddy Montgomery, Barry Harris and Cedar Walton.
David made his professional debut at age thirteen in Milwaukee, and later worked extensively in and around Chicago and Minneapolis. In Milwaukee, David served as house pianist at the famed Milwaukee Jazz Gallery, working with such greats as Charles McPherson, Eddie Harris, Sonny Stitt, Pepper Adams and Chet Baker. In fact, it was Baker who encouraged David to make his mark in New York City.
Since moving to New York City in 1992, David has made a name for himself as a "musician's musician." In addition to his working trio (with drum legend Louis Hayes and bassist Peter Washington), David is in constant demand as a sideman. Recent credits include work with Freddie Hubbard, James Moody, the Faddis-Hampton-Heath Sextet, the Carnegie Hall Jazz Band, the Louis Hayes Quintet, and Marlena Shaw, for whom he serves as pianist, arranger, and musical director. Recently David was spotlighted on Marian McPartland's "Piano Jazz" radio program. David is also a member of the band "One For All" which features rising tenor star Eric Alexander ...
David Hazeltine is one of a handful of young pianists who has successfully forged his own distinctive style and musical voice out of the accumulated greatness and weight of a modern piano tradition. David's influences extend from Art Tatum and Bud Powell to such great living masters as Buddy Montgomery, Barry Harris and Cedar Walton.
David made his professional debut at age thirteen in Milwaukee, and later worked extensively in and around Chicago and Minneapolis. In Milwaukee, David served as house pianist at the famed Milwaukee Jazz Gallery, working with such greats as Charles McPherson, Eddie Harris, Sonny Stitt, Pepper Adams and Chet Baker. In fact, it was Baker who encouraged David to make his mark in New York City.
Since moving to New York City in 1992, David has made a name for himself as a "musician's musician." In addition to his working trio (with drum legend Louis Hayes and bassist Peter Washington), David is in constant demand as a sideman. Recent credits include work with Freddie Hubbard, James Moody, the Faddis-Hampton-Heath Sextet, the Carnegie Hall Jazz Band, the Louis Hayes Quintet, and Marlena Shaw, for whom he serves as pianist, arranger, and musical director. Recently David was spotlighted on Marian McPartland's "Piano Jazz" radio program. David is also a member of the band "One For All" which features rising tenor star Eric Alexander ...
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Jan 7, 2006
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Other links at Keyboard, Piano > piano players: jazz
1. jonny king
Pianist Jonny King's website features reviews, sound bites, itinerary, books, biography, cds.
Described by Downbeat as "one of the strongest piano voices of the new generation," Jonny King has played jazz piano since the age of nine. He was born in 1965 in New York City, where he made an early acquaintance with piano legends Teddy Wilson and Earl "Fatha" Hines. Exposure to these seminal pianists, along with an impromptu performance with Dizzy Gillespie when King was only ten years old, fueled King's interest in jazz.
Although King is primarily self-taught, he did study privately in the early 1980s with the late bebop pianist Tony Aless and rising star Mulgrew Miller, who would become one of King's key mentors, Whenever school or another gig allowed, King also spent his free time in the fertile environment of Manhattan's jazz clubs. By the time he was a teenager, he was already working as a sideman in the New York clubs, and he found himself sitting in with the likes of Art Blakey and many other jazz qreats.
King's musical career has taken him all over the world, and he has played extensively throughout the United States, Europe, South America, and Asia. As a bandleader, he is a regular presence in the New York club scene, where he often features his own ensemble at Sweet Basil, The Jazz Standard, and the now defunct Bradley's and Visiones. As a sideman, he has toured the world as a member of Joshua Redman's Quartet and performed with the Blue Note Records cooperative band, OTB. He has also been privileged to work with many of today's finest musicians, including Christian McBride, Ralph Moore, Bobby Watson, Kenny Garrett, David Sanchez and Joe Lovano, Roy Hargrove, Tom Harrell, the late Eddie Harris, Jesse Davis, Randy Brecker, Vincent Herring and numerous others ...
Described by Downbeat as "one of the strongest piano voices of the new generation," Jonny King has played jazz piano since the age of nine. He was born in 1965 in New York City, where he made an early acquaintance with piano legends Teddy Wilson and Earl "Fatha" Hines. Exposure to these seminal pianists, along with an impromptu performance with Dizzy Gillespie when King was only ten years old, fueled King's interest in jazz.
Although King is primarily self-taught, he did study privately in the early 1980s with the late bebop pianist Tony Aless and rising star Mulgrew Miller, who would become one of King's key mentors, Whenever school or another gig allowed, King also spent his free time in the fertile environment of Manhattan's jazz clubs. By the time he was a teenager, he was already working as a sideman in the New York clubs, and he found himself sitting in with the likes of Art Blakey and many other jazz qreats.
King's musical career has taken him all over the world, and he has played extensively throughout the United States, Europe, South America, and Asia. As a bandleader, he is a regular presence in the New York club scene, where he often features his own ensemble at Sweet Basil, The Jazz Standard, and the now defunct Bradley's and Visiones. As a sideman, he has toured the world as a member of Joshua Redman's Quartet and performed with the Blue Note Records cooperative band, OTB. He has also been privileged to work with many of today's finest musicians, including Christian McBride, Ralph Moore, Bobby Watson, Kenny Garrett, David Sanchez and Joe Lovano, Roy Hargrove, Tom Harrell, the late Eddie Harris, Jesse Davis, Randy Brecker, Vincent Herring and numerous others ...
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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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Pianist Michael Cochrane's website features reviews, sound bites, cds, itinerary, projects, biography.
MICHAEL COCHRANE , pianist, composer, arranger, and instructor has resided in the Tri-State area since the fall of 1974. He has performed and/or recorded with: Sonny Fortune, Hannibal , Jack Walrath, Eddie Gomez, Valery Ponomorev, Paul Nash, John Clark, Clark Terry, Nancy Monroe, Chip White, Michael Brecker, Chico Freeman, Galen Abdur Razzaq, The Spirit Of Life Ensemble, Bob Ferrel, The New World Quintet, Ted Curson, Oliver Lake, Bradford Hayes and many more. Mr. Cochrane has performed in colleges, clubs, and concert halls throughout the United States. In New York, for example, clubs have included The Village Vanguard, Sweet Basil, Bradleys ... halls have included Carnegie Hall, Weill Recital Hall, Alice Tulley Hall and Merkin Hall. His touring experience spans 16 European countries, including Germany, France, Spain, Yugoslavia, Lithuania, Poland, Belgium, Netherlands, Switzerland, Austria, Italy, Sweden, Norway, Denmark, Finland and England. He has also performed in Canada, Japan, Puerto Rico, The Philippines,The Caribbean, and Estonia.
MICHAEL COCHRANE , pianist, composer, arranger, and instructor has resided in the Tri-State area since the fall of 1974. He has performed and/or recorded with: Sonny Fortune, Hannibal , Jack Walrath, Eddie Gomez, Valery Ponomorev, Paul Nash, John Clark, Clark Terry, Nancy Monroe, Chip White, Michael Brecker, Chico Freeman, Galen Abdur Razzaq, The Spirit Of Life Ensemble, Bob Ferrel, The New World Quintet, Ted Curson, Oliver Lake, Bradford Hayes and many more. Mr. Cochrane has performed in colleges, clubs, and concert halls throughout the United States. In New York, for example, clubs have included The Village Vanguard, Sweet Basil, Bradleys ... halls have included Carnegie Hall, Weill Recital Hall, Alice Tulley Hall and Merkin Hall. His touring experience spans 16 European countries, including Germany, France, Spain, Yugoslavia, Lithuania, Poland, Belgium, Netherlands, Switzerland, Austria, Italy, Sweden, Norway, Denmark, Finland and England. He has also performed in Canada, Japan, Puerto Rico, The Philippines,The Caribbean, and Estonia.
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Michele Rosewoman's website features sound bites, her 6 cds, New Yor-Uba projects, itinerary, biography.
Much like the most celebrated icons of jazz past, pianist/composer Michele Rosewoman is fiercely determined to use her knowledge of and respect for the genre's tradition to carry it into a new generation. As evidenced by glowing reviews of her live and recorded performances, this determination has served her well, giving birth to a strikingly original voice with an all-embracing style.
Ms. Rosewoman's musical growth and professional career began in Oakland, California where she started playing piano at age six, and studied jazz traditions with the great pianist/organist Edwin Kelly. In her late teens she began playing percussion and studying African-based drum and vocal traditions, specifically Cuban and Haitian folkloric styles. Her experience as a percussionist continues to shape many aspects of her musicality, as composer, performer and bandleader.
Before moving to New York in 1978, Michele Rosewoman performed at major venues in the Bay Area with musicians such as Julian Priester, Julius Hemphill, Baikida Carroll and Oliver Lake, as well as with her own ensembles. In New York she formed new ensembles and continued to present her original music as she nurtured associations with notable New York-based jazz artists and went on to perform with Gary Bartz, Jimmy Heath, Rufus Reid, Reggie Workman, Freddie Waits, James Spaulding, John Stubblefield, Billy Hart, Howard Johnson and Carlos Ward, among others. In 1981 she began to perform with Cuban dance bands and also to study and work with the Cuban master drummer/vocalist, Orlando "Puntilla" Rios. Ms. Rosewoman performed with his group Nueva Generacion, as well as with Celia Cruz, Paquito D'Rivera, Daniel Ponce, Chocolate, Nicky Marrero and Roberto Borrell, among others.
Her life-long immersion in both traditions inevitably led Michele Rosewoman to form an ensemble with a unique synthesis of contemporary jazz and traditional religious Cuban folkloric music. In 1983 Rosewoman received a National Endowment for the Arts grant for the formation of New Yor-Uba, A Musical Celebration of Cuba in America, a 14-piece ensemble conceived to perform her original compositions and arrangements of traditional Yoruban (Nigeria) and Arara (Dahomey) chants in a contemporary jazz setting. With the support of the 1983 NEA grant, New Yor-Uba made its debut before a standing-room-only crowd at New York's Public Theater. Drummer/vocalist Orlando "Puntilla" Rios, a master of the various Cuban musical forms, has been both her mentor and a member of this ensemble since its inception, providing Rosewoman with a valuable organic source as she creates the group's repertoire.
1984 brought great opportunity and success including a New Yor-Uba tour with appearances at festivals throughout Europe and the release of her first recording as pianist/arranger/musical director for the Cuban songo group, Los Kimy. She was also awarded an ASCAP/Meet the Composer Commission for Emerging Composers by a panel made up of jazz masters Dizzy Gillespie, Marian McPartland and Lester Bowie. This resulted in a new work, "The Heart of Answers", performed by the 40-piece Brooklyn Philharmonic Orchestra and a quintet of improvisers, including Rufus Reid, Howard Johnson and Greg Osby, with performances at Cooper Union Great Hall in New York City and the Paramount Center for the Arts in Peekskill, New York. Also in 1984, her debut recording as a leader, THE SOURCE (Soul Note) was released and received critical praise for its radiance and ingenuity. In a review published by DownBeat, Rosewoman's direction was likened to that of master innovator Charles Mingus. With her maiden voyage on record, she had distinguished herself as both a talented player and a composer of unique vision ...
Much like the most celebrated icons of jazz past, pianist/composer Michele Rosewoman is fiercely determined to use her knowledge of and respect for the genre's tradition to carry it into a new generation. As evidenced by glowing reviews of her live and recorded performances, this determination has served her well, giving birth to a strikingly original voice with an all-embracing style.
Ms. Rosewoman's musical growth and professional career began in Oakland, California where she started playing piano at age six, and studied jazz traditions with the great pianist/organist Edwin Kelly. In her late teens she began playing percussion and studying African-based drum and vocal traditions, specifically Cuban and Haitian folkloric styles. Her experience as a percussionist continues to shape many aspects of her musicality, as composer, performer and bandleader.
Before moving to New York in 1978, Michele Rosewoman performed at major venues in the Bay Area with musicians such as Julian Priester, Julius Hemphill, Baikida Carroll and Oliver Lake, as well as with her own ensembles. In New York she formed new ensembles and continued to present her original music as she nurtured associations with notable New York-based jazz artists and went on to perform with Gary Bartz, Jimmy Heath, Rufus Reid, Reggie Workman, Freddie Waits, James Spaulding, John Stubblefield, Billy Hart, Howard Johnson and Carlos Ward, among others. In 1981 she began to perform with Cuban dance bands and also to study and work with the Cuban master drummer/vocalist, Orlando "Puntilla" Rios. Ms. Rosewoman performed with his group Nueva Generacion, as well as with Celia Cruz, Paquito D'Rivera, Daniel Ponce, Chocolate, Nicky Marrero and Roberto Borrell, among others.
Her life-long immersion in both traditions inevitably led Michele Rosewoman to form an ensemble with a unique synthesis of contemporary jazz and traditional religious Cuban folkloric music. In 1983 Rosewoman received a National Endowment for the Arts grant for the formation of New Yor-Uba, A Musical Celebration of Cuba in America, a 14-piece ensemble conceived to perform her original compositions and arrangements of traditional Yoruban (Nigeria) and Arara (Dahomey) chants in a contemporary jazz setting. With the support of the 1983 NEA grant, New Yor-Uba made its debut before a standing-room-only crowd at New York's Public Theater. Drummer/vocalist Orlando "Puntilla" Rios, a master of the various Cuban musical forms, has been both her mentor and a member of this ensemble since its inception, providing Rosewoman with a valuable organic source as she creates the group's repertoire.
1984 brought great opportunity and success including a New Yor-Uba tour with appearances at festivals throughout Europe and the release of her first recording as pianist/arranger/musical director for the Cuban songo group, Los Kimy. She was also awarded an ASCAP/Meet the Composer Commission for Emerging Composers by a panel made up of jazz masters Dizzy Gillespie, Marian McPartland and Lester Bowie. This resulted in a new work, "The Heart of Answers", performed by the 40-piece Brooklyn Philharmonic Orchestra and a quintet of improvisers, including Rufus Reid, Howard Johnson and Greg Osby, with performances at Cooper Union Great Hall in New York City and the Paramount Center for the Arts in Peekskill, New York. Also in 1984, her debut recording as a leader, THE SOURCE (Soul Note) was released and received critical praise for its radiance and ingenuity. In a review published by DownBeat, Rosewoman's direction was likened to that of master innovator Charles Mingus. With her maiden voyage on record, she had distinguished herself as both a talented player and a composer of unique vision ...
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5. keith javors
Jazz pianist and professor Dr. Keith Javors' website include discography, bio, cv, elecronic press kit, etc ...
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