Tagged: Groove Notes

Halie Loren talks with Groove Notes about her most recent release, “Heart First” – which rose to number one on the iTunes Canada Jazz chart – her path to becoming a jazz singer, her success in other countries and what it takes to convincingly sing a song that she didn’t write.

Read the story on Groove Notes.

Originally, a limited vinyl release by the National Press Club in 1972, one of the last recordings of Louis Armstrong will be available widely for the first time via Smithsonian Folkways Recordings on April 24th as part of the Smithsonian’s celebration of the 11th annual Jazz Appreciation Month.

Armstrong often signed letters “Red Beans and Rice-ly Yours,” which makes for an apt title for the recording especially since his favorite recipes ― everything from Louisiana Caviar to the Sazerac ― are included in the liner notes, as they were in the original pressing.

Read more on Groove Notes.

Every so often, a barrage of articles and blog posts come out claiming that jazz has found the musician or musicians that are going to “save” jazz. More often than not, these musicians are achieving some current commercial success and popularity among a broad audience outside of the typical “jazz head” community.

But what would it mean to "save jazz"? And, what exactly does it need "saving" from?

Read more on Groove Notes.

Jazz icon Ella Fitzgerald’s voice is recognized by millions around the world. But few know about her career-defining friendship with Marilyn Monroe, to whom Fitzgerald said she “owe a real debt.”

While touring in the ’50s under the management of Norman Granz, Fitzgerald, like many African-American musicians at the time, faced significant adversity as a result of her race, especially in the Jim Crow states. Granz was a huge proponent of civil rights, and insisted that all of his musicians be treated equally at hotels and venues, regardless of race.

Skerik’s most recent project released this week – Skerik’s Bandalabra: Live at the Royal Room – includes working with Seattle musicians Andy Coe (electric guitar), Evan Flory-Barnes (upright bass), and Donne Lewis (drums).

Skerik explains that it is a change of pace from the rock bands since a lot of the music is created in the moment.

Read more on Groove Notes.

The Lionel Hampton Jazz Festival is back for another year at the University of Idaho in Moscow. Now ten years after the death of its namesake, the festival, like many such celebrations, is challenged by a changing jazz industry.

Read more on Groove Notes.

James Demaria, photographer, filmmaker and soul searcher, became friends with trumpeter Kermit Ruffins about 5 years ago. They decided to try to make a film about Kermit’s musical upbringing in New Orleans’ Treme neighborhood.

The result, "Treme Life," turned into a love letter to New Orleans.

Read more on Groove Notes.

My best effort to summarize trumpeter Nicholas Payton’s post On Why Jazz Isn’t Cool Anymore is that he is saying the word “jazz” is racist, that jazz died in 1959, and “Jazz is a marketing ploy that serves an elite few. The elite make all the money while they tell the true artists it’s cool to be broke.”

Read more on Groove Notes.

A Mis Abuelos by trumpeter Arturo Sandoval is a song in which during 5 minutes and 25 seconds, Sandoval manages to record a song with literally everything a trumpet player ever wanted to do in it.

Lightening fast fingers, unbelievable range that didn’t compromise the tone, and intense energy. Trumpeter and former Tonight Show bandleader Doc Severinsen is quoted as saying “Who in the hell is this guy?”

Find out this Friday (1/13 at 12:15 PM PST) when Sandoval comes in for a studio session  at KPLU.

Read more on Groove Notes.