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CRIOJAZZ Maria Schneider.

The composer, arranger and bandleader Maria Schneider, she moved to New York in 1985, having studied at the Universities of Minessotta, Miami and the Eastman School of Music. Immediately after arriving at the "Big Apple" is in contact with Bob Brookmeyer to study in depth musical composition. Simultaneously Gil Evans hires her to assist him. In this sense the role of Maria was notable in the composition of the soundtrack of the movie "The Color of Money" and prepared for the tour that Gil Evans made with the musician Sting in 1987.
During those years he also directed the music's own Evans, and collaborated on musical works of Jon Faddis, Wallace Roney, Miles Evans or David Saborna. The Maria Schneider Jazz Orchestra was created as such in 1993, with concerts in the "Visions" of the New York borough of Greenwich Village. In this room she and her band will be playing every Monday night for five consecutive years. These actions serve as "showcase" and then receives multiple offers for contracts and invitations to participate in various jazz festivals and concert halls in Europe, Brazil and Macao. Similarly, Mary, receives multiple offers to direct and perform his music with orchestras across America and Europe. She visits various countries such as Italy, Portugal, France, Scandinavia, Central Europe, Australia, Canada, etc, and also in their own country.
The composer begins to receive commissions for compositions and arrangements of various musicians and institutions like the Nortbotten Big Band and Radio Orchestra of Denmark. Work with Toot Thielemans, and receives commissions for compositions by prestigious orchestras such as the Stuttgart Jazz Orchestra, the Orchestre National de Jazz in France, Monterey, University of Miami, or the well-known New York, Lincoln Center. At this time Maria received an award for his musical composition for a work of ballet by Doris Duke, the composition is called "Dossolution" and was represented by the group Pilobolus at the Festival Ballet Kennedy Center. The management and interpretation was made by Maria with his orchestra. He subsequently participated in the preparation of multiple arrangements of music for Ivan Lins, Toots Thielemans, and the Radio Orchestra of Denmark, specifically for the tour that the orchestra performed in the year 2003.
In 2004, she and her band are a series of four concerts at Hunter College. Of the Centre receives orders from two compositions to be called "Concert in the Garden" and "Blue Sky." "Concert in the Garden" will title his latest CD. This work, which received a Grammy Award, was performed and produced solely by her company's innovative "ArtistShare." The debut recording of Maria's work is produced "Evanescence," nominated for two Grammy awards in 1995. His second and third albums were "Comin'About" and "Allégrese." With them was awarded the Grammy for "Best Composer" and the best "Big Band". Also has received numerous awards and critical readers of magazines such as "Downbeat" and "JazzTimes."
"Allégrese" remained for a long time in the "top ten" of 2000 journal "Time" and "Billboard" respectively, with the result that the work was not framed in specific musical category. Recently, "Concert in the Garden" has received a Grammy Award in 2005, and given the particularity that is the first album sold outside the conventional distribution channels, not having come to be sold in stores and being a limited print run . The medium has been used exclusively by mail and Internet, but, as of the date, all issues in support physically exhausted (series gold, silver and bronze).
Given the philosophy that this distribution system and sell it, which is none other that the benefits produced cover the expenses and the money is only for musicians (she and her orchestra) the idea has been much interest among musicians, they see a way to put their works on the market outside the circles of the great music industry, which carry the vast majority of the "pie" of benefits that the work can produce. The result of this experience is encouraging, especially for the consumer who looks like the product sold directly by the author, lowers the final price of the disc.
jazz fans in Spain await with interest and patience, the day when Mary visit our country for the first time. This biography was made possible by the invaluable help of my friend, Gabriel Bienzobas and his wife who have translated the text, drawn mostly from the website of Maria Schneider.

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Red Garland.

With 17 years his father taught him to play the clarinet as a child without demonstrating any inclination for music. His true passion was boxing. Music teacher had to AS nor Jackson knew how to take it all its worth. Later he met Buster Smith, and then gave birth to her fondness for alto sax. Buster gave his lessons with the result desired by their parents and got to learn music and play the blues. It was in 1947, at the time of enlistment in the U.S. Army when he began playing the piano listening intently discs Count Basie and Nat King Cole in the juke-boxes of the barracks.
depth became interested in jazz and studied classical pianists of the swing, and James P. Johnson, Art Tatum, Teddy Wilson and Count Basie. Meanwhile, his love of boxing led him to play some fighting at welterweight, where he play 31 matches. In 1944 he obtained a contract the "Rose Room" in Dallas to perform with the orchestra who was his first teacher, Buster Smith. On the recommendation of this, Garland joined the group of Hot Lips Page kicking off from that point the Garland Red meteoric career as a jazz pianist. Performed at the Apollo in New York in 1945 after the dissolution of the orchestra joined Page for six weeks to Billy Eckstine where he met and became friends with Charlie Parker, Dexter Gordon, Dizzy Gillespie and all that bebop musicians time.
Between 1947 and 1949 was the pianist of the club "Down Beat" in Philadelphia and was fortunate to play in the quintet led by Charlie Parker, with the trumpeter Fats Navarro, saxophonist tenor, Ben Webster and John Coltrane. His nickname "Red" came as a result of a season in which his hair was dyed red. In 1949 he was named by Coleman Hawkins to serve as a pianist in his combo, and at that time coincided with and played with Lester Young. In 1956, Coleman Hawkins left and moved to Boston with a contract to play at the famous clubs of the city. "Storyville" and "Haig Hat." In June 1955, Miles Davis invited him to join his quintet where he met John Coltrane, Paul Chambers, and Elvin Jones. During the four years that Garland was in the Miles Davis Quintet, recorded some of the pieces represent the work of Miles.
In 1959 decided to form a trio when she left the Miles Davis group, but its failure was not overwhelming and soared into the air until 1966. Red Garland was one of the greatest jazz pianists of all time and one of the greats of the instrument in modern jazz.

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Dean Martin.

Dean Martin, born on July 17, 1917 in the town of Steubenville, Ohio, in a family of Italian immigrants. Real name, Dino Paul Crocetti, little lover of studies, he soon left school and set out a living in what was, and worked since her teens in the trades as a laborer, salesman fuel at a gas station, casino dealer, and even boxer, fighting (with some success) with the nickname "Kid Crocetti."
At the same time, Dean Martin was introduced gradually in "nightclubs" as a singer, performing with Ernie McKay Orchestra, under its new nickname Dino Martin. In one of his performances, which he combined music and comedy, coincided with a comedian who also tried to break into the entertainment field, his name was Jerry Lewis. The two became fast friends, prompting them to act as a couple in 1946 at the club "Atlantic City", getting chemistry with his hilarious arouse enthusiasm among the audience. Shortly after debuting on the radio and in 1949 signed with Paramount to star in their first film together, "My Friend Irma" (1949), a title directed by George Marshall and that was the beginning of a long series of hit movies.
The long friendship ended after the shooting of "Mad About Anita" and the couple broke his successful artistic collaboration to launch a solo career, in which more diversify their roles, showing an amazing talent for dramatic performance. Also continued making records and getting hit with pop classics as "Volare" or "Everybody loves somebody." Emotionally speaking, before the arrival of 60 and was married twice, first with Betty MacDonald in 1940, whom she divorced in 1949, and the second in 1949 with Jane Biegger, his most enduring relationship with that was until 1973. From the 50's, Dean Martin, was part of a group of actors and singers, led by Frank Sinatra and known worldwide as the "Clan Sinatra" and vulgarly "rat pack" (Band of rats) . Lovers were partying and good life and boasting of having close contacts with the Mafia world.
Dean Martin, became a popular singer and his poor relationship with jazz, which came very briefly, but with correction appreciably album "Swingin 'Down Yonder" for Capitol, 1954 is a good example of this, does not prevent that maintain a constant and inescapable presence in the world of American show business the 50 and 60.

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Lou Donaldson.

Saxophonist and singer. He began studying clarinet at the age of 15 and continued taking classes when he joined the Navy. After taking the alto saxophone was made in an armed band with Willie Smith, Clark Terry, and Ernie Wilkins.
He recorded with Milt Jackson and Thelonious Monk (Both 1952) and as the leader of several small groups, and among his companions were Blue Mitchell, Horace Silver and Art Blakey (all 1952) and Clifford Brown and Philly Joe Jones (1953).
In 1954 he and Brown joined Blakey's Jazz Messengers. Continued to lead small groups, mainly in the eastern U.S., he performed in Stockholm (1965) and touring and recording in Europe (1981-82).
His early work for Blue Note (1952-1962) showed his impressive mastery of the bop style, "Groovin High", 1957 [mp3], but when in 1963 he began to record for Argo (later renamed Cadet), which specialized in funk, some of its spark Creative seemed to be sacrificed to the need for commercial success.
then returned to Blue Note (1967), however, made a series of recordings (from 1975) in which he achieved a successful blend of elements from both styles, in the 1980's once again focused on the balance of payments. Donaldson has a dazzling technique and at its best is a strong player in creative expression.
- Lawrence Koch, the New Grove Dictionary of Jazz.

Lou Donaldson, fairly reliably embodies the type of instruments associated with sound, the funk-and a record label - Blue Note -. Donaldson is indeed one of the parents of that sound characteristic of jazz in the last quarter century and warm sound is rooted in the blues. If it is joined by a superb technical ability, and absolute mastery of the saxophone, we can say that Lou Donaldson is one of the great jazz saxophonists alive today and is embodied with jazz stars such as Art Blakey, Lee Morgan or Horace Silver from the payroll of musicians from the Blue Note stable.
His recorded legacy is abundant and, fortunately, is being widely promoted by policy reissues the Blue Note and they can easily see how their collaborations with the Jazz Messengers Art Blakey or own, Thelonious Monk are jewels Music that endure over time and in the memories of the good fans. After a prolonged absence from today's jazz in the eighties and nineties, the recovery of this music in the last years of the twentieth century and early years of this, we confirmed that Donaldson lives a second stage, if anything more creative than the previous more mature and more lyrical and is celebrated collaborations with organist Jimmy Smith and guitarist Grant Green.

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McCoy Tyner.

American composer and pianist, McCoy Tyner was fortunate that his mother, pianist, will stimulate beginning and since 1953 he runs his own training of young musicians. Neighbor of the Powell brothers, Richie and Bud, perfect with them the knowledge of harmony and the use of the pedals. In the mid-50's also working with orchestras in Philadelphia, a city particularly strong from the standpoint of musical improvisation by the presence in it as solid as instrumentalists, Lee Morgan, Benny Golson and Helen Grimes. During this period of weight attached to soloists as Kenny Dorham, Jackie McLean, Benny Golson, Sonny Rollins and Max Roach. In 1956 he met John Coltrane, who plays the "Red Rooster" for a week. Composed for the saxophonist, "The Believer" one of his compositions, and this the record the following year.
in 1959, offers several concerts in San Francisco with Art Farmer and Benny Golson, who hired him within the "Jazztet" group with whom he recorded his first album. Then again meets with Coltrane (1960-1965), entering his quartet in place of Steve Kuhn. Parallel would record as a leader, along these six years, several albums with other musicians: Roy Haynes, Clark Terry, Thad Jones, etc. Coltrane Tyner found in the type of pianist and as a likeness of Bill Evans, was handled with comfort and ease in the field of modal jazz. In 1962, McCoy Tyner recorded for Impulse! first album as a leader, the entitled "Inception" with Art Davis on bass, and Elvin Jones on drums.
In 1963, Tyner was victorious in the referendum magazine's annual "Beat donw" in the category of "Newstar" and his albums for Impulse! "Once out of Coltrane's group in those years, are all highlighting outstanding for his brilliance: "Night of Ballads & Blues" (Impulse, 1963) and "Live in Newport" also in that year. In 1966 he founded his own trio, and began a freelance career that takes you to the ends of the world and play with different musicians and in 1967 signed a contract with Blue Note, and in his debut blue with the label, made an extraordinary album entitled "The Real McCoy."
After working for Blue Note, and hailed as one of the greatest pianists of hardbop, McCoy Tyner, signed by the Milestone label and that same year he recorded a masterpiece titled, "Sahara" by Down Beat regarded as the best album jazz of the year. In 1973, he recorded another extraordinary album "Enlightenment" and their contracts are multiplying around the world. In 1978 as part of a tour of "All Stars" Milestone seal with Sonny Rollins, Ron Carter and Al Foster, and recorded one of the greatest live albums of modern jazz. In 1987 is clearly one of the leading musicians of international touring tribute Coltrane and presented in a trio with bassist Avery Sharpe and drummer Louis Hayes. McCoy Tyner
is not only an extraordinary pianist, and special representative of the modal style, but because of the delicacy of his touch, the search for a sound always bright and ornamental improvisations, is one of the great musicians Modern jazz. The role played within the Coltrane quartet, he has made, no doubt, irreversibly, and always for the better: the pianist of calmness, gentleness, serenity and certainty, the opposite of the restless fury of leader.

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Cannonball Adderly.

Julian "Cannonball" Adderley, born in Tampa (Florida) in 1928. His early beginnings in music were as a student at the institute of your city where he learned to play the alto saxophone. He directed several student orchestras in Fort Lauderdale before entering military service.
In 1955, he decided to join his brother, cornetist Nat Adderley was already a professional musician in the Lionel Hampton Orchestra. A few weeks later got a job with Oscar Pettiford and a recording contract with the Savoy label. That was the embryo of his quintet with his brother without success was dissolved shortly after. In the fall of 1957, Julian "Cannonball" Adderley, he joined the Miles Davis quintet in what was a decisive and momentous step in his career. Miles quintet, sextet quickly became, after the addition of tenor saxophonist John Coltrane. At that time, Cannonball, recorded several albums with the group absolute reference for Miles, including absolute masterpiece "Kind Of Blue."
In 1959, Adderley left the band of Miles Davis, and returns with his brother, Nat, to form another quintet and featured as an instrumentalist, joined the pianist Bobby Timmons, a key player in the development of quintet and contributed to his compositions, the brand called soul-jazz, that clinched the group to stardom. This training quintet, sextet occasionally expanded with the additions of Charles Lloyd and Yusef Lateef, was the main vehicle for the music of Julian Adderley for the rest of his life.
In 1967, he recorded one of his absolute reference discs, entitled: "Mercy, Mercy, Mercy." Developed during the seventies in a scout for the labels: Riverside and Columbia, Riverside incorporating the then unknown guitarist, Wes Montgomery, and also forced Columbia to hire the great pianist Bud Powell.
Julian "Cannonball" Adderley was one of the clearest and most expressive musicians of his generation and was an extremely popular figure until his death in 1975 because of a heart attack.

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Art Pepper.

Born in Gardena (California) in 1925, after learning the clarinet at age 9 and move to the alto saxophone with 13 participating in orchestras such as Lee Young and Benny Carter in the area of \u200b\u200bLos Angeles. Thanks to the latter, it became part of the famous Stan Kenton Orchestra, with whom he participates in his first record label. He married Patti Moore at the age of 17 years and when it appears work perfectly, is called up by the U.S. Army and left for England, returning in 1946 where it returns to play with Stan Kenton, with whom he remained until 1952. Between 1952 and 1954 frequently recorded for the Savoy label, first in the company of the pianist Russ Freeman and August 54, with saxophonist Jack Montrose. At the same time as your reputation increases, so passionately devoted to music and women as the heroine, who has just discovered. Their dependence is such that his family was forced to mortgage his house to try a detox. The results are not expected, apart from being arrested for possession of narcotics. Will almost two years (between 1953 and 1954) between the prison hospital in Los Angeles and Fort Worth, beginning an ordeal in your life.
While in prison, the relationship with his wife is degraded to the point where divorce. Upon his release he recorded with Jack Montrose, but soon return, for a season of 9 months in prison in Los Angeles, after a police search in his apartment. After an absence of 20 months, Pepper reappears on stage. Has joined forces with the composer and arranger and tenor saxophonist Jack Montrose and burned, working and touring with the new quartet of the latter. His second wife, introduced him to Lester Koenig responsible for Contemporary Records with whom extraordinary record several albums as "Art Pepper + Eleven" considered one of the disks cool emblematic of the movement or "Meets the Rhythm Section" and "Gettin 'Together' with the Miles Davis rhythm sections. Is again arrested for drug addiction in 1960 and sentenced him to join the worst of American prisons: San Quentin.
will spend three years in San Quentin (between 1961 and 1964). During this time discovers Ornette Coleman and John Coltrane. On departure, please contact Shelly Manne and his friend returned to the stage, and although not recorded in any record, fortunately there is a unique document, released by Fresh Sound, "Art Pepper Quartet'64-In San Francisco" where you can listen to Art Pepper heavily influenced by Coltrane. In the early years of the seventies, Art Pepper makes a serious effort to detoxify and enter their own volunteer at a clinic in Santa Monica in a lamentable condition, barely 40 years had passed. He was there for three years and its output, very clean recovered but not all, showed a surprising naturalness to keep your creativity with the instrument, which had not played all that time. Had not stepped in all those years a recording studio, but his creativity and amazing sound remained intact friends and strangers, becoming one of the most extraordinary cases of recovery from a musician for jazz.
In 1975, when no one would bet on him, Contemporary got a new Pepper album, entitled "Living Legend" with a cover that reflects the image of a man punished by life and drugs, his body covered with tattoos and scars. Music content that freezes the blood drive, the music is the same, sound, articulation, attack of the instrument .. everything is like before the horror of the prison, is his life and the artist does not want to hide. In 1978, he recorded for the Galaxy label, "Today", his masterpiece at the end of his career, a perfect album on the cover of the album, again, the look of a man marked by suffering, isolation and lack of joy. Four years later, Art Pepper died after more than a week in a coma in a hospital the victim of a cerebral hemorrhage.

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Grant Green.

Grant Green, (1931-1979) was one of the landmarks of jazz funk guitarists of the sixties and one of the emblematic players at the Blue Note instrument. After starting out in different formations of jazz and rhythm and blues, the saxophonist Lou Donaldson, introduced him to the legendary label blue as guest soloists and musicians of the age as well as Donaldson himself were: Stanley Turrentine, Lee Morgan, Herbie Hancock, or the organist, Jimmy Smith. It was precisely his ability to accompany various jazz organists such as Brother Jack McDuff, Sam Lazar, Baby Face Willette or extraordinary, Gloria Coleman, which opened the doors of fame in the jazz and he became a renowned performer.
His guitar style is a resounding strength and sharpening their sound resonates with echoes of bebop, blues and soul, into a rich amalgam always ingenious and effective in recent years many musicians have appropriated Rap or acid jazz. His serious drug problems soon shattered his career in the seventies and died at the end of the decade with only 48 years old. Recorded in spite of his short career over twenty albums to his name being the most popular of them titled "Idle Moments" recorded in 1963 for Blue Note.

Green was born on June 6, 1935 in St. Louis. His first professional performance came at age 13. His early influences were Charlie Christian and Charlie Parker, and his first style was the boogie-woogie , before coming to jazz. His first recording in St. Louis was with the tenor saxophonist Jimmy Forrest for Delmark. The drummer of the band was Elvin Jones later companion John Coltrane. Grant would record again with Elvis in the early sixties. Lou Donaldson discovered Grant playing in a bar in St. Louis. Following a tour with him, Grant arrived in New York between 1959 and 1960.
Lou Donaldson introduced Grant to Alfred Lion of Blue Note Records . Lion was so impressed with Grant, before the test as a sideman, as was customary in the label, Lion to record placed him as a leader, a status that was maintained with few exceptions during the sixties. From 1961 to 1965 Grant became one of the musicians with the highest number of recordings for the company. His first album as a leader was Grant's First Stand. The same year he published Green Street and Grantstand. At the time, accompanied by other musicians from Blue Note, among which were the saxophonists Hank Mobley , Ike Quebec, Stanley Turrentine and Harold Vick, and organists such as Larry Young . Grant was chosen as the best rising star in the survey of critical Down Beat in 1962 . As a result, its popularity spread beyond New York.
Sunday Mornin ', The Latin Bit and Feelin' the Spirit are all examples of concept albums, each with a different style Gospel, Latin and spiritual . Grant has always worked commercial success with artistic success, as is the case with Idle Moments (1963 ), together with Joe Henderson and Bobby Hutcherson , and Solid ( 1964), with Coltrane's rhythm section, both disks considered the best works of Grant. Many of the guitarist's recordings were not edited in life, such as Matador, in which Grant is accompanied again by Coltrane's rhythm section, and a series of sessions with pianist Sonny Clark .
In 1966 Grant left Blue Note and recorded for other labels, including Verve. Between 1967 and 1969 Grant was inactive because of personal problems and the effects of his addiction to heroin. During that period, Wes Montgomery achieved great success and George Benson became a rising star, the two stylistic influences reflect Green.
In 1969, Grant returned with a group funk influences . His recordings from this period include the commercially successful Green is Beautiful and the soundtrack of the film The Final Comedown . Grant left Blue Note in 1974 and again following recordings are ordinarily considered as commercial.
Grant was over 1978 in many occasions in the hospital against medical advice and got out to get clean up its economy. While in New York playing with George Benson, died after suffer a heart attack inside his car on January 31, 1979. He was buried in his hometown of San Luis, had six children.

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Stan Kenton.

Stan Kenton (1911-1979), showed from an early passion for jazz. His models were, pianist, and saxophonist Earl Hines, Benny Carter, a great arranger of the swing era. Since 1933, the year he began working professionally until 1940, he went wandering in various jazz bands in different American states, mainly in the big band standing de Vido Muso, a tenor sax player of proven quality.
When he had the opportunity to lead his own group, had the courage to embrace a white jazz singer called, Anita O'Day, which won an impressive success, to the point of becoming the best big band of his era white at the level even of the great Woody Herman. Kenton, in front of his orchestra, he tried to merge the European classical music and jazz tradition. That effort and great job, was between 1947 and 1956, many interesting records of unquestionable taste and jazzy, and also brought to light, a pair of white singers extraordinary: the aforementioned, Anita O'Day and soon to replace , the magnificent, June Christy.
During this period he recorded for Capitol, the corpus most interesting musical of his career picked up in several LP's and collected in a box of four compact reissued by Capitol Records in 1994, his "alter ego" was the arranger, Pete Rugolo, a musician Special born in Sicily and educated in the United States, which met Kenton, a role analogous to that made, with Duke Ellington Billy Strayhorn. Since 1947, the music of Stan Kenton, there was everything from debussiano impressionism, to expressionism of Stravinsky, from the Wagnerian bombast and even Latin rhythms and sounds of South American cone.
In 1953, Kenton and his band traveled to Europe and although the reception in Paris was extraordinary, the apotheosis of the orchestra took place in Dublin, where there were even public demonstrations of their fans on the streets Dubliners. In 1958, after two or three years with the orchestra languished, a concert at the "Rendez Vous Ballroom in the Californian town of Balboa Beach, the band recovered to the levels of the days of the big hits. Kenton again seemed to catch up, but the defection of some of his best solo, made this splendor was short-lived.
For nearly twenty years more, Kenton continue experimenting and testing with lab-band (in formed to musicians often recent graduates of the University), the disparate sounds, but a skull fracture he departed from the jazz, died on August 25, 1979. On their desks passed the cream of the jazz of the American West Coast: Conte Candoli, Art Pepper, Zoots Zims, Shelly Manne, Mel Lewis, Bud Shand etc, etc.
Stan Kenton Today, with the perspective that gives the time, is given the ability to generate creative spaces, creator of new sounds and have been a charismatic bandleader and inventive.

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Dizzie Gillespie. Kenny

John Birks Gillespie was the youngest nine children in a family where his father, a mason by trade, played the piano in an amateur orchestra. His first instrument was the trombone but gave up soon because of the short length of his arms, preventing him from reaching all the notes. At fourteen he started playing trumpet with a neighbor and his love of the instrument where it would pass to the great history of jazz began in earnest to get a scholarship to study harmony and music theory at Laurinburg Institute North Carolina North. After settling his family in Philadelphia in 1935, won a seat in the orchestra of Frank Fairfax, where at that time played the gifted trumpeter Charlie Shavers, who shared trio also has an idol of himself Gillespie Roy Eldridge.
Like many other young people, Gillespie went to New York and there connected with the Teddy Hill Orchestra, and in a test session of the orchestra and given its crazy, Hill gave him the nickname that will never leave him in for life and what would be known in the history of jazz "Dizzy" which meant "crazy" • Your premiere with Teddy Hill's orchestra, was a European tour in 1937 and there performed his first solo on "King Porter Stomp "giving evidence at that time, a great musical immaturity. On his return to New York, the band signed a contract in the famous hall "Savoy Ballroom" and Things began to get better, especially with the inclusion in the band drummer, Kenny Clarke.
is in 1939 when Dizzy has his first encounter with real jazzy jazz heavyweights such as the vibraphone, Lionel Hampton, alto sax, Benny Carter, and three formidable tenor saxophonists Coleman Hawkins, Ben Webster and Chu Berry . The result was that the style called the tension of those musicians who predicted a bright future. While his boss was appointed manager of the famous club "Myntons Playhouse, located in the basement of the Hotel Cecil on West 118th Street in Harlem. A further charge made enormous significance in the history of Dizzy and the jazz.
Recommended by Cuban trumpeter Mario Bauza, Gillespie joined the Cab Calloway Orchestra which was never found at home given the style of music to the eccentric showman. But the fact that changed his life and music of Gillespie, was the first encounter with the alto saxophonist, Charlie Parker, his authentic "alter ego". Held in Kansas City, when both became part of the Earl Hines band in early 1943. They began to develop high quality music and an aesthetic very close to what will soon be called bebop. In 1944, Calle 52, New York, had become the Mecca of jazz, and in less than two blocks, there nine club offering high-level music and also the Minton's, was in full swing, celebrating historic jam session, encouraged by the group of drummer, Kenny Clarke, saxophonist Don Byas, pianist, Thelonius Monk and of course, Dizzy Gillespie and Charlie Parker, who had been developing the new musical language.
While bebop germinated in the basements of Harlem, former vocalist for the band of Earl Hines, Billy Eckstine, is launched on an adventure to launch his own orchestra and became the first bebop big band. Dizzy was the musical director and it is where some of the young talents of the day: Charlie Parker on alto sax, the singer Sarah Vaughan, tenor saxophonist Gene Ammons, drummer, Art Blakey, etc. Eckstine's orchestra was the ideal laboratory for the boppers in search of work but soon abandoned Dizzy looking for smaller musical adventures. So he formed a quartet with bassist Oscar Petifford to fulfill a contract at the club "Onyx" and at that time, just in 1945, Gillespie was consolidated as the star of the new musical movement. Dizzy was fixed ideas between eyebrows and always had the idea to form his own band that formed in 1946 with the help of several musicians who believed in their project. In 1947, the magazine "Metronome" was named best trumpeter of the year, ahead of his idol, Eldridge and RCA offered him a substantial contract. By that time and given the fans of Dizzy and Caribbean rhythms, brought his band for those paths recorded among other great successes, the famous "Manteca."
will be touring Europe in 1948 and was assassinated in Harlem around the percussionist, Chano Pozo. The band disbanded in 1950 and directed his steps made studio recordings with Charlie Parker, Bud Powell, Monk and other musicians associated recording a series of magnificent albums. In 1953 participates in Toronto in the famous century concert at Massey Hall next to the great stars of bebop, Charlie Mingus included, would record former historic session for his newly launched label "debut." Acts in the first Newport festival, teach in "Lenox Shool of Music. Touring with Norman Granz JATP, succeed and in 1956, the State Department, entrusted with the task of acting as a musical ambassador of the U.S. Middle East, Greece, Yugoslavia and finally South America in a band formed for the occasion and that Quincy Jones and Norman Granz, help you organize to the point that once declared that it was the best band he had.
The Sixties and the bossa nova also drew the attention of Dizzy would include a theme in their repertoire. In the seventies a part of the "Giants of Jazz" star formation collected by the producer, George Wein, to a series of tours. Its activity was declining over the years but still had time to record in 1989 an interesting duo album with drummer, Max Roach, at a concert in Paris. Dizzy Gillespie, died in 1993 and his death was lost at an unparalleled performer with superlative skill, managed to customize a phrase full of arabesques and supported in what was a new way of approaching harmony. From his pen have come so famous tracks like "Salt Peanuts," "Groovin 'High," "Be-Bop," "A Night in Tunisia" and many other extraordinary compositions that have long given glory to jazz. Dizzy Gillespie made and makes many people happy with their music.

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Kirland.

The pianist Kenny Kirkland was found dead in his apartment in Queens, New York, on the morning of November 13th. The cause of death, although not officially confirmed, appears to relate to his addiction to drugs. Good companion model, was a nimble and delicate piano, on which planning in particular the shadow of Herbie Hancock, who exactly would be dedicated a week of activities which would start in these days in a New York club.

Born September 28, 1955 in Brooklyn, New York, had started playing piano at age six. Studied composition and classical piano at the Manhattan School of Music, but became interested in black music: James Brown, Sly Stone, The Temptations. Listening to "Headhunters," Herbie Hancock, attracted his attention to jazz, and so listening to Wynton Kelly, Bud Powell, Bill Evans, Chick Corea, Keith Jarrett ...

His first contacts with other musicians in jam sessions occur arranged in lofts, where he met Branford Marsalis. His first professional job comes with a European tour fusion violinist Michal Urbaniak in 1977. With it recorded the albums "Urbaniak" and "Daybreak." Back New York to work with Miroslav Vitous and participates in its ECM discs "First Meeting" and "Miroslav Vitous Group.

early 80's, after Japan, accompanied by trumpeter Terumasa Hino, began his association with Wynton Marsalis. When he began his career by taking as its starting point the quintet of Miles of 60, Kirkland seems the ideal choice to take the place of Herbie Hancock. In the debut album by Wynton precisely alternating Hancock himself, and continues as a permanent member of his band in the three following albums: "Think Of One", "Hothouse Flowers" and "Black Codes (From The Underground)."

she leaves trumpeter joins the ranks of his brother, Branford Marsalis, with whom he recorded the albums "Royal Graden Blues," "Renaissance", "Random Abstract", "Crazy People Music" and "I Heard You Twice The First Time." Saxophonist's hand is part of the band of the NBC television program "The Tonight Show." During this time also working with Dizzy Gillespie, Elvin Jones, John Scofield, Kenny Garrett, Carla Bley, Chico Hamilton, Dave Liebman, Dewey Redman ...

Besides his role strictly jazz does not averse to electric keyboards and synthesizers, and no doubt accompany pop and soul singers. The most notorious case was the incorporation with Branford Marsalis, Omar Hakim and Darryl Jones, the band's singer Sting, whose album "Dream Of The Blue Turtles" and the subsequent tour captured in "Bring On The Night" are worth a succulent success and the ire of purists, led by Wynton Marsalis himself. His collaboration with the British star is prolonged in the albums "The Soul Cages" and "Mercury Fallen."

In 1991 he recorded his only album as a leader for the GRP label, followed two trio records on behalf of Jazz From Keystone to the Sunnyside label. His latest recording is forthcoming discs of Branford Marsalis and Jeff "Tain" Watts on the Columbia label.

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Horace Silver.

pianist Horace Silver, began his musical studies in high school playing the saxophone while studying piano with a church organist. While serving as a youth in the club "Sundown" in the town of Hartford, was played by Stan Getz, who offered him a contract as a quintet. Six months later he made his debut recording with musicians like Jimmy Raney, Tommy Potter and Roy Haynes. In 1951, Horace Silver, settled in New York and spent the next year and playing as a sideman by jazz greats.
But in 1954, gets the green light to his fame. On 13 November of that year, in Blue Note studios held a historic recording in the history of jazz Horace Silver was to be protagonists of the same. At that time, Alfred Lion, label owner, Silver had proposed to recording an album and, curiously, he left to choose their companions. The pianist, despite his youth, was not discouraged, and proposed the best musicians who knew and admired: as tenor saxophonist Hank Mobley, Doug Watkins on bass, Kenny Dorham on trumpet and Art Blakey on drums. Lion agreed to the formation and hired all, which gave rise to the "Jazz Messengers", an institution that gave the movement musical hardbop, many years glory. Product of this meeting was issued the foundation stone disk hardbop "Horace Silver and the Jazz Messengers (Blue Note, 1955) containing the aforementioned meeting and another held on 6 February of that same year. This album is, for many, the leap of Silver from the bebop tradition with new forms of funky hard bop.
Horace Silver, thus became a champion of new ways that would bring the jazz in the fifties and the creation of the "Jazz Messengers" where he worked as musical director, was the starting point for a brilliant career, both in his role as composer and pianist. Silver would hold a short time in the Messengers, and in 1961 toured the world visiting and playing in Europe and Japan for many festivals, concerts, TV shows etc. In 1975 he devoted himself to the orchestration with the help of Wade Marcus, forming an orchestra of thirteen elements. Gradually, his music was drifting towards mystical currents which fell within the emerging sixties horse racing and, eventually, his spirit was fully investigator to look inward and doctrinal did not overlook or incursion vocal music and the use of electric instruments. His last stage will again lead to hard bop, but at the time, Horace Silver was out Blue Note, the label that recorded their best and inimitable works.
His career from 1952, the year he first recorded for Blue Note trio until 1978, when he finished his first special stage and the seal of the blue label, he recorded a series of thematic albums that were closed with "Silver n 'strings play The Music of the Spheres", but has recorded in 1964 and entitled "Song for My Father" the jewel in the crown of his career, and one of the great masterpieces of the period hardbop jazz. All the work record of Horace Silver, is an exquisite monument to jazz, but the fact remains that his recordings as a sideman in Miles Davis (1954), Jay Jay Johnson (1955), Art Farmer (1954) and especially those published on behalf of Art Blakey also in 1954: "A night at Birdland, Vols. 1 and 2" and "Jazz Messengers at Cafe Bohemia", both on Blue Note, also serve to check its huge contribution to jazz.

When To Have A Shower After Waxing

Guacamole

Ingredients for Salmorejo pint of Cordoba (2-4 people):

■ 500 grams of ripe red tomatoes
■ 100 grams of bread (1 or 2 days late)
■ 100 ml of extra virgin olive oil
■ 1 clove garlic (I just put half but your to your taste) salt

■ ■ Water and Ice (only for peeled tomatoes)
Recipe for Middle Salmorejo Litre Cordoba (two or four people):

1.Pon to heat water (for peeling the tomatoes). Meanwhile take the tomatoes and cut a cross at the base of each tomato. Do not cut too deep, cut the skin is sufficient. 2.When
boiling add the tomatoes and leave for 30 seconds to 1 minute (note that you will spread a bit of skin). While preparing a pileup with cold water and ice. Remove the tomatoes and add hot water to cold water pileup. With the sudden cooling of the tomato skin is separated from the body and are easier to peel. 3.Coge
bread and cut into small pieces and put it in a pileup. 4.Pela
tomatoes, cut into several pieces and put them on bread. Also add half teaspoon salt (sudan and tomatoes and bread are soaked before). 5.Si
bread is very hard to let it get wet with tomatoes for 30 minutes, if not go to the next step. 6.Pela
garlic and as we will use oil we take the center to avoid repeating. Cut the garlic into pieces and add to bread and tomato. My advice is to add only half and then when you try decide if you have more or not. 7.Añade
also olive oil and pass everything through the blender until very fine (very fine). Salt test and if necessary add a little more. It is also good time to add more garlic if you like salmorejo stronger and give a little more to the mixer to be integrated well. 8.Por
last put it in the fridge and serve it cool. If you want Serve with ham, egg (cooked) and a few drops of olive oil. Outside the kitchen and eat!
To eat:

With these ingredients we get a pint of gazpacho. Depending on the application that will help us give you more or fewer people, if it's just a snack or appetizer eat four or more persons, whether as a starter have released two portions

well in all recipes is important to have good ingredients But in recipes where no cooking at all (everything is raw) and the gazpacho is really important that the ingredients are the best you can get. The tomato and oil you use will determine the final taste the recipe and make the difference between an exceptional salmorejo one is not.

Choose a good red tomatoes (they are very ripe) and a little tender (but without being passed). If using a Thermomix to prepare gazpacho need not peel the tomatoes (and which they say is very very fine) but if you do it with a conventional mixer is good to spend some time to peel them to obtain a thin cream.

Choose extra virgin olive oil has no taste too marked.

can add a little sherry vinegar (enough for this recipe one or two teaspoons). Some people also add egg and who removed to leave only egg bread (For a texture similar to mayonnaise). You can make variations of your choice but you're away from the real salmorejo Cordoba.

Finally note that the salmorejo Cordoba is a very thick cream, if you prefer lighter is adding more tomatoes to your taste or let off some bread at the beginning of the recipe