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jill mccarron
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Award winning pianist Jill McCarron's website includes all flash jukebox, presskit, bio, recordings and more ...
ill McCarron is a dedicated New Yorker. Born in Minneapolis, she spent her childhood and teen years in Canada (Winnipeg and Ottawa). She also lived for a time in Toronto, where she performed solo piano and with several local bands at Toronto's top jazz clubs while also attending Humber College.
Upon winning a Canada Council Grant, she relocated to New York for private studies in the jazz program at the New School for Social Research. After seeing the wider opportunities for growth that the city offered, it was not a tough decision for Jill to stay on permanently.
Although she enjoyed piano lessons from the age of five and proved to be unusually talented, Jill's moment of decision came at the age of 16, when listening to a radio recording of Art Pepper with her brother, Ross. A bebop piano caught her ear, which she discovered years later to be the stylings of Russ Freeman, and there was an instant connection. "I knew I could do that," she recalls thinking. From then she pursued the study of jazz with unflagging enthusiasm.
Jill's first place win ("for her deeply rooted jazz sensibility") at the 13th Great American Jazz Piano Competition in Jacksonville, Florida in 1995 capped her earlier (1993) semi-finalist selection at the Thelonius Monk Jazz Piano Competition and her still earlier (1990) win, with her quintet, of the New York City Finals of the Hennessy Jazz Search.
Among those artists she has worked with since being in New York are trumpeter Randy Brecker, tenor saxist Don Braden, guitarist Russell Malone, alto saxist Vincent Herring, drummer Sheri Maricle's DIVA, and Kit McClure's Big Band. Venues have included The Blue Note, Shanghai Jazz, Knickerbocker,Tavern on the Green, Iridium, Metropolitan Cafe and Cleopatra's Needle, among others. Her performances have taken her throughout the U.S. and Europe.
As a soloist, playing both jazz and classical selections, Jill regularly performs at the Harvard Club of NYC Monday and Tuesday evenings and has recently added vocals to her repertoire. Her Wednesday evenings belong to Arturo's in Greenwich Village. For the balance of the week, she is in high demand, both as a soloist or with her combos, at numerous popular restaurants and night spots in NYC and environs ...
ill McCarron is a dedicated New Yorker. Born in Minneapolis, she spent her childhood and teen years in Canada (Winnipeg and Ottawa). She also lived for a time in Toronto, where she performed solo piano and with several local bands at Toronto's top jazz clubs while also attending Humber College.
Upon winning a Canada Council Grant, she relocated to New York for private studies in the jazz program at the New School for Social Research. After seeing the wider opportunities for growth that the city offered, it was not a tough decision for Jill to stay on permanently.
Although she enjoyed piano lessons from the age of five and proved to be unusually talented, Jill's moment of decision came at the age of 16, when listening to a radio recording of Art Pepper with her brother, Ross. A bebop piano caught her ear, which she discovered years later to be the stylings of Russ Freeman, and there was an instant connection. "I knew I could do that," she recalls thinking. From then she pursued the study of jazz with unflagging enthusiasm.
Jill's first place win ("for her deeply rooted jazz sensibility") at the 13th Great American Jazz Piano Competition in Jacksonville, Florida in 1995 capped her earlier (1993) semi-finalist selection at the Thelonius Monk Jazz Piano Competition and her still earlier (1990) win, with her quintet, of the New York City Finals of the Hennessy Jazz Search.
Among those artists she has worked with since being in New York are trumpeter Randy Brecker, tenor saxist Don Braden, guitarist Russell Malone, alto saxist Vincent Herring, drummer Sheri Maricle's DIVA, and Kit McClure's Big Band. Venues have included The Blue Note, Shanghai Jazz, Knickerbocker,Tavern on the Green, Iridium, Metropolitan Cafe and Cleopatra's Needle, among others. Her performances have taken her throughout the U.S. and Europe.
As a soloist, playing both jazz and classical selections, Jill regularly performs at the Harvard Club of NYC Monday and Tuesday evenings and has recently added vocals to her repertoire. Her Wednesday evenings belong to Arturo's in Greenwich Village. For the balance of the week, she is in high demand, both as a soloist or with her combos, at numerous popular restaurants and night spots in NYC and environs ...
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Jan 7, 2006
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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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Pianist Joanne Brackeen's website features reviews, sound bites, recordings, diary,
biography.
The capacity audience is mesmerized by the tall, slim, elegant, vivacious lady seated at and in command of the 9' grand piano. Who is this mysterious legend, known as "the Picasso of Jazz Piano?" Who is this "lady of the sea," whose domains are always "water side"?
She is none other than JoAnne Brackeen, described as "a visionary of extraordinary depth" by Tony Bennett, and "a pianist-composer of phenomenal capacity" by the late Bill Evans. Brackeen is consistently ranked by critics and jazz magazines as one of the best jazz pianists in the world, along with Keith Jarrett, McCoy Tyner, and Chick Corea. Her writing is remarkable for its creativity, stylistic range, emotional depth, and whimsical spirit. Her storied career does indeed invite parallels to Picasso; like the great visual artist, she has consistently defied convention, remaking herself and her art many times over. Her playing is virtuosic and wholly unpredictable, dense and richly detailed, rhythmically advanced and consistently, effortlessly swinging. "Outrageous," "charming," "classic," "awesome" and "phenomenal" are just some of the oft-repeated adjectives chosen by critics and fans to describe JoAnne's music.
Born in the coastal city of Ventura, California, this jazz giant came from humble beginnings, in a jazz-less town of 17,000. She began to learn jazz, at age eleven, by transcribing entire piano solos from recordings. By the age of twelve, she was busy performing. After moving to the Los Angeles area, and still in her teens, Brackeen had already met and played with Scott LaFaro, Charlie Haden, Don Cherry, Billy Higgins, Charles Lloyd, Bobby Hutcherson, Dexter Gordon, and Art Farmer ...
biography.
The capacity audience is mesmerized by the tall, slim, elegant, vivacious lady seated at and in command of the 9' grand piano. Who is this mysterious legend, known as "the Picasso of Jazz Piano?" Who is this "lady of the sea," whose domains are always "water side"?
She is none other than JoAnne Brackeen, described as "a visionary of extraordinary depth" by Tony Bennett, and "a pianist-composer of phenomenal capacity" by the late Bill Evans. Brackeen is consistently ranked by critics and jazz magazines as one of the best jazz pianists in the world, along with Keith Jarrett, McCoy Tyner, and Chick Corea. Her writing is remarkable for its creativity, stylistic range, emotional depth, and whimsical spirit. Her storied career does indeed invite parallels to Picasso; like the great visual artist, she has consistently defied convention, remaking herself and her art many times over. Her playing is virtuosic and wholly unpredictable, dense and richly detailed, rhythmically advanced and consistently, effortlessly swinging. "Outrageous," "charming," "classic," "awesome" and "phenomenal" are just some of the oft-repeated adjectives chosen by critics and fans to describe JoAnne's music.
Born in the coastal city of Ventura, California, this jazz giant came from humble beginnings, in a jazz-less town of 17,000. She began to learn jazz, at age eleven, by transcribing entire piano solos from recordings. By the age of twelve, she was busy performing. After moving to the Los Angeles area, and still in her teens, Brackeen had already met and played with Scott LaFaro, Charlie Haden, Don Cherry, Billy Higgins, Charles Lloyd, Bobby Hutcherson, Dexter Gordon, and Art Farmer ...
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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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Pianist George Cable's website features reviews, sound bites, cds, discorgaphy, itinerary, reviews, discography.
When George Cables was going to school in New York City he used to walk the streets at night, taking in the cosmopolitan sights and sounds, mentally recording his encounters with "so many different kinds of people." In his musical career as well, Cables has prowled sidestreets and main thoroughfares in relative anonymity, absorbing countless influences into his personal style.
Born in New York City on November 14, 1944, Cables was classically trained as a youth and when he started at the "Fame" worthy High School of Performing Arts, he admittedly "didn't know anything about jazz." But he was soon smitten with the potential for freedom of expression he heard in jazz.
The young Cables was impressed by such keyboardists as Herbie Hancock and Chick Corea. But, he points out, "I never really listened to pianists when I was coming up. I would probably say I've been more influenced by Miles or Trane and their whole bands rather than by any single pianist. The concept of the music is more important than listening to somebody's chops, somebody's technique, The Way Miles' band held together, it was just like magic. You were transported to another world" ...
When George Cables was going to school in New York City he used to walk the streets at night, taking in the cosmopolitan sights and sounds, mentally recording his encounters with "so many different kinds of people." In his musical career as well, Cables has prowled sidestreets and main thoroughfares in relative anonymity, absorbing countless influences into his personal style.
Born in New York City on November 14, 1944, Cables was classically trained as a youth and when he started at the "Fame" worthy High School of Performing Arts, he admittedly "didn't know anything about jazz." But he was soon smitten with the potential for freedom of expression he heard in jazz.
The young Cables was impressed by such keyboardists as Herbie Hancock and Chick Corea. But, he points out, "I never really listened to pianists when I was coming up. I would probably say I've been more influenced by Miles or Trane and their whole bands rather than by any single pianist. The concept of the music is more important than listening to somebody's chops, somebody's technique, The Way Miles' band held together, it was just like magic. You were transported to another world" ...
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5. kenny barron
Jazz pianist Kenny Barron's website features sound bites, reviews, activities, bio, photo gallery, etc ...
Kenny Barron's unmatched ability to mesmerize audiences with his elegant playing, sensitive melodies and infectious rhythms is what inspired the Los Angeles Times to name him "one of the top jazz pianists in the world" and Jazz Weekly to call him "The most lyrical piano player of our time."
Kenny Barron's unmatched ability to mesmerize audiences with his elegant playing, sensitive melodies and infectious rhythms is what inspired the Los Angeles Times to name him "one of the top jazz pianists in the world" and Jazz Weekly to call him "The most lyrical piano player of our time."
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