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eli yamin
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Pianist and jazz educator Eli Yamin's website features sound bites, reviews, activities, bio, etc ...
Eli Yamin started playing piano as soon as he could reach the keyboard. His enthusiasm for music, creativity and community through song permeates his work as a performer, composer, educator and broadcaster. In the often times hackneyed field of jazz keyboard Eli Yamin brings a freshness and a riotous joy. Through his energy and intellectual curiosity, he makes you feel you’ve never heard jazz piano before. He has toured internationally, recorded, and performed with the Illinois Jacquet Big Band, the Walter Perkins Trio, Perry Robinson, Solar and the Claire Daly Quartet. He was musical director and pianist of the tenth anniversary tour of “Duke Ellington's Sophisticated Ladies,” blending his love of theatre with his love of jazz. Shortly after, he met playwright Clifford Carlson at the Louis Armstrong Middle School in Queens, NY and together, they founded the Jazz Drama Program.
Now in it's sixth year, the JDP's mission is to develop and produce new musicals for young people that draw on the vast heritage of America's classical music-jazz-to tell stories that are immediate, expressive and useful to children. The Jazz Drama Program is at the forefront of arts education in the 21st century and has premiered five original jazz musicals in seven productions. JazzTimes calls it "the hippest move in jazz education, ever " ...
Eli Yamin started playing piano as soon as he could reach the keyboard. His enthusiasm for music, creativity and community through song permeates his work as a performer, composer, educator and broadcaster. In the often times hackneyed field of jazz keyboard Eli Yamin brings a freshness and a riotous joy. Through his energy and intellectual curiosity, he makes you feel you’ve never heard jazz piano before. He has toured internationally, recorded, and performed with the Illinois Jacquet Big Band, the Walter Perkins Trio, Perry Robinson, Solar and the Claire Daly Quartet. He was musical director and pianist of the tenth anniversary tour of “Duke Ellington's Sophisticated Ladies,” blending his love of theatre with his love of jazz. Shortly after, he met playwright Clifford Carlson at the Louis Armstrong Middle School in Queens, NY and together, they founded the Jazz Drama Program.
Now in it's sixth year, the JDP's mission is to develop and produce new musicals for young people that draw on the vast heritage of America's classical music-jazz-to tell stories that are immediate, expressive and useful to children. The Jazz Drama Program is at the forefront of arts education in the 21st century and has premiered five original jazz musicals in seven productions. JazzTimes calls it "the hippest move in jazz education, ever " ...
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Jan 8, 2006
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Other links at Keyboard, Piano > piano players: jazz
1. ronny whyte
Pianist Ronny Whyte's website features sound bites, reviews, activities, bio, etc ...
Ronny Whyte has long been rated a premiere interpreter of the American Popular song, as well as an outstanding jazz pianist. He is an ASCAP Award-winning songwriter; his lyric "Forget the Woman" was recorded by Tony Bennett.
For the past two years Ronny appeared in New York City in the hit musical Our Sinatra for much of its run, as well as in the sixty city national big band tour of the show. He was also featured at New York's JVC Jazz Festival both 2001 and 2002. The Ronny Whyte Trio has performed in concert at Carnegie/Weill Hall, New York's Town Hall, Washington's Corcoran Gallery, and the Mellon Jazz Festival in Philadelphia. Ronny has had major engagements in New York at the Café Carlyle, Rainbow and Stars, the Oak Room at the Algonquin, and The Knickerbocker. Abroad, he has starred in Paris, Tokyo, Tel Aviv, Sao Paulo, Caracas, and Johannesburg.
Ronny often makes guest appearances with symphony orchestras playing his arrangement of "Porgy & Bess for Jazz Trio & Orchestra" and other Gershwin works. In the theatre, he has played such diverse roles as Bobby in Company, Oberon in A Midsummer Night's Dream, Joey in Pal Joey, and Vernon in They're Playing Our Song. He has written and performed in Night's Work, two one-act plays with music, which marked his debut as a playwright ...
Ronny Whyte has long been rated a premiere interpreter of the American Popular song, as well as an outstanding jazz pianist. He is an ASCAP Award-winning songwriter; his lyric "Forget the Woman" was recorded by Tony Bennett.
For the past two years Ronny appeared in New York City in the hit musical Our Sinatra for much of its run, as well as in the sixty city national big band tour of the show. He was also featured at New York's JVC Jazz Festival both 2001 and 2002. The Ronny Whyte Trio has performed in concert at Carnegie/Weill Hall, New York's Town Hall, Washington's Corcoran Gallery, and the Mellon Jazz Festival in Philadelphia. Ronny has had major engagements in New York at the Café Carlyle, Rainbow and Stars, the Oak Room at the Algonquin, and The Knickerbocker. Abroad, he has starred in Paris, Tokyo, Tel Aviv, Sao Paulo, Caracas, and Johannesburg.
Ronny often makes guest appearances with symphony orchestras playing his arrangement of "Porgy & Bess for Jazz Trio & Orchestra" and other Gershwin works. In the theatre, he has played such diverse roles as Bobby in Company, Oberon in A Midsummer Night's Dream, Joey in Pal Joey, and Vernon in They're Playing Our Song. He has written and performed in Night's Work, two one-act plays with music, which marked his debut as a playwright ...
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2. mark levine
Pianist Mark Levine's website features biography, discography, sound bites, books, itinerary, reviews, etc.
Mark began playing jazz as a teenager in Daytona Beach, Florida. Continuing his education in Boston and New York, Mark studied with Hall Overton, Herb Pomeroy and Jaki Byard, before moving to California in 1966.
A key phase in Mark's education was a year spent in Woody Shaw's quartet. "Every night was serious school," says Mark.
Mark spent significant time working with Joe Henderson, Blue Mitchell, David Liebman and Harold Land, composing all the while. Joe recorded two of Mark's tunes on "Canyon Lady," the late tenor giant's only Latin jazz album. Mark returned the favor by playing two of Joe's classic compositions, "Inner Urge," and "A Shade Of Jade," on his 2000 release, "Serengeti."
His interest in Latin jazz led to work with Mongo Santamaria, Willie Bobo, Moacir Santos, Francisco Aguabella, Pete Escovedo, and Cal Tjader (including Cal's Grammy-winning Concord Jazz recording "La Onda Va Bien").
Mark has continued to pursue the Latin side of his craft, attending Centro Nacional de Escuela de Arte in Havana, Cuba in 1997 ...
Mark began playing jazz as a teenager in Daytona Beach, Florida. Continuing his education in Boston and New York, Mark studied with Hall Overton, Herb Pomeroy and Jaki Byard, before moving to California in 1966.
A key phase in Mark's education was a year spent in Woody Shaw's quartet. "Every night was serious school," says Mark.
Mark spent significant time working with Joe Henderson, Blue Mitchell, David Liebman and Harold Land, composing all the while. Joe recorded two of Mark's tunes on "Canyon Lady," the late tenor giant's only Latin jazz album. Mark returned the favor by playing two of Joe's classic compositions, "Inner Urge," and "A Shade Of Jade," on his 2000 release, "Serengeti."
His interest in Latin jazz led to work with Mongo Santamaria, Willie Bobo, Moacir Santos, Francisco Aguabella, Pete Escovedo, and Cal Tjader (including Cal's Grammy-winning Concord Jazz recording "La Onda Va Bien").
Mark has continued to pursue the Latin side of his craft, attending Centro Nacional de Escuela de Arte in Havana, Cuba in 1997 ...
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3. helio alves
Pianist and composer Helio Alves has received high praise as an in-demand sideman with Joe Henderson, Yo-Yo Ma, Slide Hampton, Airto Moreira and Flora Purim, Paquito D'Rivera, Claudio Roditi, Oscar Castro-Neves and Gato Barbieri, to name but a few. And now, with more than 40 recordings in just over a decade - two at the helm of his own ensembles - this incomparable musician is quite deservedly earning respect as a leader. too.
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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 ...
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5. cliff korman
Cliff Korman is a pianist, composer and arranger. His early musical experience spanned from accompanying Yiddish theater icon Molly Picon, to the worlds of R&B and jazz, which he decided to make his own, after working with Millie Jackson, Bob Moses, Jon Lucien, and Milt Hinton.
In the early 1980’s Korman began the lifelong journey that would bring him to explore the improvised musics of the Americas and their distinctive connection to the artistic languages of the twentieth century. It is at that time that he established half of his spiritual and physical home in Brasil, becoming one of the most respected North American musicians in the country.
There he became deeply involved in a series of cross-cultural projects with the legendary clarinetist Paulo Moura: Mood Ingênuo: The Dream of Pixinguinha and Duke Ellington, Rhapsody in Bossa, on the music of Gershwin and Jobim, Gafiera Dance Brasil, a sparkling and refreshing commentary on the history of Brazilian ballroom and its links to the North American Swing Era, and the Gnattali/Monk Project, exploring two of the most influential American pianists of the century ...
In the early 1980’s Korman began the lifelong journey that would bring him to explore the improvised musics of the Americas and their distinctive connection to the artistic languages of the twentieth century. It is at that time that he established half of his spiritual and physical home in Brasil, becoming one of the most respected North American musicians in the country.
There he became deeply involved in a series of cross-cultural projects with the legendary clarinetist Paulo Moura: Mood Ingênuo: The Dream of Pixinguinha and Duke Ellington, Rhapsody in Bossa, on the music of Gershwin and Jobim, Gafiera Dance Brasil, a sparkling and refreshing commentary on the history of Brazilian ballroom and its links to the North American Swing Era, and the Gnattali/Monk Project, exploring two of the most influential American pianists of the century ...
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