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jonny king
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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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Jan 7, 2006
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Other links at Keyboard, Piano > piano players: jazz
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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2. 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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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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James Weidman's website features reviews, sound bites, recordings, newletter,
biography.
New York-based pianist James Weidman is indisputably one of the world's top sidemen. Over the years he has played and recorded with musicians as diverse as Max Roach, Woody Herman, Archie Shepp, James Moody, Greg Osby, and Marty Ehrlich.
He has also been the accompanist of choice for some of the world's most celebrated singers, including legendary jazz vocalist Abbey Lincoln and Cassandra Wilson. Clearly, Weidman -- described by New York Times jazz critic Ben Ratliff as playing "smoothly and decorously" behind Lincoln at a recent reunion concert -- is one those rare accompanists to whom singers feel it is safe to give free rein ...
biography.
New York-based pianist James Weidman is indisputably one of the world's top sidemen. Over the years he has played and recorded with musicians as diverse as Max Roach, Woody Herman, Archie Shepp, James Moody, Greg Osby, and Marty Ehrlich.
He has also been the accompanist of choice for some of the world's most celebrated singers, including legendary jazz vocalist Abbey Lincoln and Cassandra Wilson. Clearly, Weidman -- described by New York Times jazz critic Ben Ratliff as playing "smoothly and decorously" behind Lincoln at a recent reunion concert -- is one those rare accompanists to whom singers feel it is safe to give free rein ...
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5. eli yamin
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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