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mark levine
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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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Jan 7, 2006
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11949
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Other links at Keyboard, Piano > piano players: jazz
KeysNovello: John Novello Productions, Inc.:
Welcome to CK On Line. I have always enjoyed giving something back to such a wonderful field such as music and so I have been teaching its fundamentals for many many years. I’m really excited about now offering this service on line. Of course I still do private lessons for those who live in the Los Angeles area or want to come and visit but now with the Internet and e mail and sound file attachments, I can reach a lot more of you. I will also eventually be offering downloadable standard lessons on various topics such as rhythmic independence, chord substitutions, jazz improvisation, sight reading, musical styles, intervallic playing, and more…. but to be honest, even though these prefab lessons will be exceptionally good, a) they are already covered in my books and tapes that I urge you to check out and b) there’s no substitution for private custom lessons as each student is different. Of course you are welcome to do both, that is, download any prefab lesson on the topic of your choice and enroll in CK on line for custom private instruction ...
Welcome to CK On Line. I have always enjoyed giving something back to such a wonderful field such as music and so I have been teaching its fundamentals for many many years. I’m really excited about now offering this service on line. Of course I still do private lessons for those who live in the Los Angeles area or want to come and visit but now with the Internet and e mail and sound file attachments, I can reach a lot more of you. I will also eventually be offering downloadable standard lessons on various topics such as rhythmic independence, chord substitutions, jazz improvisation, sight reading, musical styles, intervallic playing, and more…. but to be honest, even though these prefab lessons will be exceptionally good, a) they are already covered in my books and tapes that I urge you to check out and b) there’s no substitution for private custom lessons as each student is different. Of course you are welcome to do both, that is, download any prefab lesson on the topic of your choice and enroll in CK on line for custom private instruction ...
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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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3. 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 ...
Category:
4. mark sherman
Mark Sherman's website features sound bites, discography, itinerary, projects, biography.
Mark Sherman's background, Juilliard education, working, performance and recording experience have all contributed to a unique vision which incorporates elements of jazz, classical and rhythm and blues. Mark is an accomplished soloist (vibraphone and piano), ensemble player, composer and accompanist. "I am striving for happiness and love through the continuous organization and exploration of sound and harmony."
Sherman graduated from the High School of Music and Art and went on to Juilliard where he had 5 solid years of percussion training with tympani master Saul Goodman. He played in symphonic situations led by Leonard Bernstein, Zubin Mehta and Sir George Soiti. While at Juilliard he met a kindred soul who was at home in both the classical and jazz worlds - Wynton Marsalis. They jammed together regularly and years later it was with the help of Wynton's endorsement that Mark recorded in 1986, A New Balance which showcases Mark's skills as a composer, vibist and synthesiser specialist.
Mark Sherman's background, Juilliard education, working, performance and recording experience have all contributed to a unique vision which incorporates elements of jazz, classical and rhythm and blues. Mark is an accomplished soloist (vibraphone and piano), ensemble player, composer and accompanist. "I am striving for happiness and love through the continuous organization and exploration of sound and harmony."
Sherman graduated from the High School of Music and Art and went on to Juilliard where he had 5 solid years of percussion training with tympani master Saul Goodman. He played in symphonic situations led by Leonard Bernstein, Zubin Mehta and Sir George Soiti. While at Juilliard he met a kindred soul who was at home in both the classical and jazz worlds - Wynton Marsalis. They jammed together regularly and years later it was with the help of Wynton's endorsement that Mark recorded in 1986, A New Balance which showcases Mark's skills as a composer, vibist and synthesiser specialist ...
Mark Sherman's background, Juilliard education, working, performance and recording experience have all contributed to a unique vision which incorporates elements of jazz, classical and rhythm and blues. Mark is an accomplished soloist (vibraphone and piano), ensemble player, composer and accompanist. "I am striving for happiness and love through the continuous organization and exploration of sound and harmony."
Sherman graduated from the High School of Music and Art and went on to Juilliard where he had 5 solid years of percussion training with tympani master Saul Goodman. He played in symphonic situations led by Leonard Bernstein, Zubin Mehta and Sir George Soiti. While at Juilliard he met a kindred soul who was at home in both the classical and jazz worlds - Wynton Marsalis. They jammed together regularly and years later it was with the help of Wynton's endorsement that Mark recorded in 1986, A New Balance which showcases Mark's skills as a composer, vibist and synthesiser specialist.
Mark Sherman's background, Juilliard education, working, performance and recording experience have all contributed to a unique vision which incorporates elements of jazz, classical and rhythm and blues. Mark is an accomplished soloist (vibraphone and piano), ensemble player, composer and accompanist. "I am striving for happiness and love through the continuous organization and exploration of sound and harmony."
Sherman graduated from the High School of Music and Art and went on to Juilliard where he had 5 solid years of percussion training with tympani master Saul Goodman. He played in symphonic situations led by Leonard Bernstein, Zubin Mehta and Sir George Soiti. While at Juilliard he met a kindred soul who was at home in both the classical and jazz worlds - Wynton Marsalis. They jammed together regularly and years later it was with the help of Wynton's endorsement that Mark recorded in 1986, A New Balance which showcases Mark's skills as a composer, vibist and synthesiser specialist ...
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5. 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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