Tulsa Jazz.Com’s National Artist Spotlight: Terri Lyne Carrington

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GRAMMY® award-winning drummer, composer and bandleader Terri Lyne Carrington was born in 1965 in Medford, Massachusetts. After an extensive touring career of over 20 years with luminaries like Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry, Dianne Reeves and more, she returned to her hometown where she was appointed professor at her alma mater, Berklee College of Music. Terri Lyne also received an honorary doctorate from Berklee College of Music in 2003.

After studying under full scholarship at Berklee, with the encouragement of her mentor, Jack DeJohnette, Carrington moved to New York in 1983. For 5 years she was a much in-demand musician, working with James Moody, Lester Bowie, Pharoah Sanders, and others. In the late ‘80s she relocated to Los Angeles, where she gained recognition on late night TV as the house drummer for the Arsenio Hall Show, then again in the late ‘90s as the drummer on the Quincy Jones late night TV show, VIBE, hosted by Sinbad.

In 1989, Carrington released a GRAMMY®-nominated debut CD on Verve entitled Real Life Story, which featured Carlos Santana, Grover Washington Jr., Wayne Shorter, Patrice Rushen, Gerald Albright, John Scofield, Greg Osby, and Hiram Bullock. Other solo CDs include 2002’s Jazz is a Spirit, which features Herbie Hancock, Gary Thomas, Wallace Roney, Terence Blanchard, Kevin Eubanks, and Bob Hurst, and 2004’s Structure, a cooperative group which features Adam Rogers, Jimmy Haslip and Greg Osby. Both CDs were released on the Europe-based ACT Music label and enjoyed considerable media attention and critical acclaim in the European and Japanese markets.pick-em-terri-lyne-carringtons-money-jungle-provocative-in-blue-for-best-instrumental-jazz-album-grammy

Carrington’s production and songwriting collaborations with artists such as Gino Vannelli, Peabo Bryson, Dianne Reeves, Siedah Garrett, Marilyn Scott have produced notable works as well, including her production of the Dianne Reeves GRAMMY®-nominated CD, That Day, as well as Dianne Reeves GRAMMY® Award-winning CD, Beautiful Life, in 2014.

Carrington has performed on many recordings throughout the ‘80s and ‘90s thru today. Notable examples of her work include Herbie Hancock’s GRAMMY® Award-winning CD Gershwin’s World, where she played alongside Joni Mitchell and Stevie Wonder. She has toured in many of Hancock’s musical configurations (from electric to acoustic) and is featured on his Future2Future DVD.

After a hiatus from the U.S. recording scene as a solo recording artist, Carrington returned in 2008 with More To Say… (Real Life Story: NextGen). Joining her was an impressive all-star cast of jazz and contemporary jazz instrumentalists, including George Duke, Everette Harp, Kirk Whalum, Jimmy Haslip, Greg Phillinganes, Gregoire Maret, Christian McBride, Danilo Perez, Patrice Rushen, Robert Irving III (who also serves as co-producer), Chuck Loeb, Dwight Sills, and legendary vocalists Les McCann and Nancy Wilson.

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Carrington released The Mosaic Project in 2011, her fifth recording overall and first on Concord Jazz. The critically acclaimed CD, which won a GRAMMY® Award for Best Jazz Vocal Album, gathered a myriad of voices and crystallized them into a multi-faceted whole that far outweighed the sum of its parts. She produced the 14-song set which included some of the most prominent female jazz artists of the last few decades: Esperanza Spalding, Dianne Reeves, Dee Dee Bridgewater, Sheila E., Nona Hendryx, Cassandra Wilson, Geri Allen and several others. Carrington said the emergence of so many great female jazz instrumentalists over the last couple of decades is what made an album like The Mosaic Project possible.

In 2013, Carrington released Money Jungle: Provocative in Blue, her much anticipated homage to Duke Ellington, Charles Mingus and Max Roach, to coincide with the 50th anniversary of the release of their iconic 1963 Money Jungle album. The recording featured Gerald Clayton and Christian McBride, with guests Clark Terry, Lizz Wright, Herbie Hancock and others. Carrington made history when she became the first woman to win a GRAMMY® Award for Best Jazz Instrumental Album.81oinPR-VUL._SL1500_

On August 7, 2015, Carrington released The Mosaic Project: LOVE and SOUL. Like its predecessor, the album presents Carrington leading a rotating cast of superb female instrumentalists and vocalists that includes Oleta Adams, Natalie Cole, Paula Cole, Lalah Hathaway, Chaka Khan, Chanté Moore, Valerie Simpson, Nancy Wilson, Jaguar Wright and Lizz Wright, as well as saxophonist Tia Fuller, trumpeter Ingrid Jensen; bassists Meshell Ndegoecello and Linda Oh; and keyboardists Geri Allen, Patrice Rushen and Rachel Z.

On The Mosaic Project: LOVE and SOUL, Carrington juxtaposes her salute to female artists by paying homage to various male artists who have either influenced her professionally and/or informed her musicality, such as Nick Ashford, George Duke, Duke Ellington, Frank Sinatra, Luther Vandross and Bill Withers. “Whenever I do something that celebrates women, I never want it to feel like it’s something that excludes men,” she explains. “On this record, I consciously wanted to celebrate the various relationships women have with men either through original songs of mine or cover songs by male composers and song writers.” The male presence and perspective on The Mosaic Project: LOVE and SOUL is even more realized by Billy Dee Williams, who contributes insightful spoken-word interludes through the disc.

More About Terri Lyne Carrington:

Website: http://www.terrilynecarrington.com/

Facebook: https://www.facebook.com/TerriLyneCarrington

Twitter: https://twitter.com/tlcarrington

Instagram: https://instagram.com/terrilynecarrington/

Tulsa Jazz Music Group Website: http://www.tulsajazzmusicgroup.com

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Jeremy Thomas Quartet with Branjae at Mixed Company

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Join Mike Cameron, Jeremy Thomas and an all-star line up Wednesday night at MixCo!

Back for their second full band, plus Hammond B3 organ show, is the Jeremy Thomas Quartet with Branjae on vocals… Admission is free!!!

Personnel:
Jeremy Thomas, Hammond B3 organ and the Leslie speaker cabinet bazooka
Mitch Bell, Guitar
Lee Rucker, Trumpet
Mike Cameron, Sax
Willie Peterson, Drums
Branjae, Vocals

If you missed their show last month we would love to see you this Wednesday night. This show will feature original music by Jeremy and many musical surprises throughout the night.

A big “thank you” to MixCo ( Mixed Company) for hosting this special event.

Additional Show Information:

Date/Time: Wednesday Aug 26, 2015 9:00 pm-midnight

Location: 3rd & Denver, Tulsa, Oklahoma

Phone: (918) 932-8571

Website: www.mixcotulsa.com

Facebook: https://www.facebook.com/mixedcompanytulsa

 

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National Artist Spotlight: Terri Lyne Carrington

DD Terri Lyne Carrington_Photo by Tracy Love

TERRI LYNE CARRINGTON

Drummer, composer, producer and clinician, Terri Lyne Carrington, was born in 1965 in Medford, Massachusetts. After an extensive touring career of over 20 years with luminaries like Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry, Dianne Reeves and more, she recently returned to her hometown where she was appointed professor at her alma mater, Berklee College of Music. Terri Lyne also received an honorary doctorate from Berklee College of Music in 2003.

After studying under full scholarship at Berklee, with the encouragement of her mentor, Jack DeJohnette, Terri Lyne moved to New York in 1983. For 5 years she was a much in-demand musician, working with James Moody, Lester Bowie, Pharoah Sanders, and others. In the late ‘80s she relocated to Los Angeles, where she gained recognition on late night TV as the house drummer for the Arsenio Hall Show, then again in the late ‘90s as the drummer on the Quincy Jones late night TV show, VIBE, hosted by Sinbad.

In 1989, Ms. Carrington released a GRAMMY® nominated debut CD entitled Real Life Story, which featured Carlos Santana, Grover Washington Jr., Dianne Reeves, Wayne Shorter, Patrice Rushen, Gerald Albright, John Scofield, Robert Irving III, Greg Osby, Don Alias and Hiram Bullock. Other solo CDs include 2002’s Jazz is a Spirit, which features Herbie Hancock, Gary Thomas, Wallace Roney, Terence Blanchard, Kevin Eubanks, and Bob Hurst, and 2004’s Structure, a cooperative group which features Adam Rogers, Jimmy Haslip and Greg Osby. Both CDs were released on the Europe-based ACT Music label, and enjoyed considerable media attention and critical acclaim in the European and Japanese markets.

sunset view of the world trade center and downtown manhattan

Her production and songwriting collaborations with artists such as Gino Vannelli, Peabo Bryson, Dianne Reeves, Siedah Garrett, Marilyn Scott have produced notable works as well, including a special song commissioned by the Atlanta Committee for the 1996 Olympic Games, “Always Reach for Your Dreams,” (featuring Peabo Bryson), and her production of the Dianne Reeves GRAMMY®-nominated CD, That Day, which hovered at the top of the music charts for many months.

Terri Lyne has played on many recordings throughout the ‘80s and ‘90s thru today. Notable examples of her work include Herbie Hancock’s GRAMMY® Award winning CD Gershwin’s World, where she played alongside Joni Mitchell and Stevie Wonder. She has toured with each of Mr. Hancock’s musical configurations (from electric to acoustic) over the last 10 years and is featured on his Future2Future DVD.

After a hiatus from the U.S. recording scene as a solo recording artist, Terri Lyne returned in 2008 with More To Say… (Real Life Story: NextGen). She performs with friends and colleagues with whom she has been working with in her 20-year-plus career. Joining Carrington on More to Say is an impressive all-star cast of jazz and contemporary jazz instrumentalists, including George Duke, Everette Harp, Kirk Whalum, Jimmy Haslip, Greg Phillingaines, Gregoire Maret, Christian McBride, Danilo Perez, Patrice Rushen, Robert Irving III (who also serves as co-producer), Chuck Loeb, Tineke Postma, Ray Fuller, Dwight Sills, Anthony Wilson, Les McCann and a special appearance by her dad, Sonny Carrington, on tenor. In addition, Terri Lyne collaborates with esteemed vocalist Nancy Wilson for the song, “Imagine This.”

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In July 2011, Terry Lyne released The Mosaic Project, her fifth recording overall and first on Concord Jazz. Her  album once again gathers a myriad of voices and crystallizes them into a multi-faceted whole that far outweighs the sum of its parts. She produced the 14-song set which features some of the most prominent female jazz artists of the last few decades: Esperanza Spalding, Dianne Reeves, Dee Dee Bridgewater, Sheila E., Nona Hendryx, Cassandra Wilson, Geri Allen and several others. Terri Lyne says the emergence of so many great female jazz artists is what made an album like The Mosaic Project possible, more so now than in decades past.

sunset view of the world trade center and downtown manhattan

 

LAST SOUTHERN GENTLEMEN TOUR WITH DELFEAYO & ELLIS MARSALIS

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See them at the Jazz Eureka Festival, Eureka Springs, AR  Saturday September 13th performance starts at 8 pm!

“The Last Southern Gentlemen” is a landmark recording for Delfeayo Marsalis, pairing father Ellis Marsalis, Jr. with son on a collaborative album for the first time. Marsalis’ finest outing to date, the superb recording quality and meticulous production showcase his brilliant, classically trained tone as it swings effortlessly through standards and original compositions. The music is relaxed, thoughtful and provocative, acknowledging the love and respect of all people shared by Louis Armstrong and most early jazz entertainers.

Delfeayo Marsalis is one of the top trombonists, composers and producers in jazz today. Known for his “technical excellence, inventive mind and frequent touches of humor” (Leonard Feather, Los Angeles Times), he is “one of the best, most imaginative and musical of the trombonists of his generation.” (Philip Elwood, San Francisco Examiner.) Born in New Orleans on July 28, 1965, Marsalis was destined to a life in music. “I remember my dad (Ellis Marsalis) playing piano at the house, and me laying underneath the piano as a child, listening to him play. After briefly trying bass and drums, in sixth grade I gravitated towards the trombone, which was an extension of my personality. Early on my influences and inspirations included J.J. Johnson, Curtis Fuller, Al Grey, Tyree Glenn and Tommy Dorsey.” Marsalis attended the New Orleans Center for Creative Arts high school, was classically trained at the Eastern Music Festival and Tanglewood Institute, and majored in both performance and audio production at the Berklee College of Music.delfeayo marsalis

Marsalis is an exceptional trombonist who toured internationally with five renowned bandleaders. “Art Blakey taught me a lot about patience and how to construct a solo. My compositions are influenced by Abdullah Ibrahim’s harmonies. Slide Hampton inspired me with the relaxation that he displays in his trombone playing along with his command of the instrument. With Max Roach, I learned that I had to be on top of my game every moment. And Elvin Jones, who I worked with for seven or eight years, taught me about humanity, expressing myself through my instrument, and how to keep time without relying on other players.” During a tour with the Lincoln Center Jazz Orchestra, he was filmed as part of the Ken Burns documentary, Jazz and he was an integral part of Marsalis Family: A Jazz Celebration, a DVD that assembled all of the musical Marsalis’ for the first time and was featured on PBS.ellis marsalis 02

As the father of some of New Orleans’ most renown musicians, Ellis Marsalis started his musical journey in junior high school at the age of 11. Graduating from Dillard University with a degree in Music Education, Ellis went on to play with the Corps Four, a Marine Corps’ jazz quartet that appeared on CBS television and radio nationally. Ellis returned to New Orleans after completing his Corp duties, where he married Dolores Ferdinand. Together they raised six sons, Branford, Wynton, Ellis III, Delfeayo, Mboya and Jason. Moving to the country just outside New Orleans, Ellis became a school band director for a couple of years, but soon returned to The Big Easy to become a free-lance musician. He performed at all the top clubs, and soon got teaching jobs, including twelve years as an instructor at the New Orleans Center for Creative Arts. He eventually became the Chair of Jazz Studies at the University of New Orleans, retiring in 2001.

In January 2011, the Marsalis family (father Ellis and brothers Delfeayo, Branford, Wynton and Jason) earned the nation’s highest jazz honor – a National Endowment for the Arts Jazz Masters Award.

Koan Collective Perform at The Oklahoma Jazz Hall of Fame

 

Koan Collective web lgKOAN COLLECTIVE HITS JAZZ DEPOT STAGE SATURDAY SEPTEMBER 14

On its surface, the content of Saturday’s Koan Collective performance sounds pretty familiar to those who enjoy live jazz: several specially arranged standards, spiced up with original tunes. A little deeper digging, however, reveals some intriguing, even audacious, content that audiences aren’t likely to get anywhere else — including a few numbers played on dual melodicas. Melodicas, once used widely in primary schools, are essentially keyboards with mouthpieces, Still important parts of some school music programs around the world, they become, in the hands of Koan Collective’s Jonah Wei-Haas and Nate Wong, offbeat instruments for jazz duets.

“We had to practice a bit at first to try to get the balance right, because not only are they harmonically in the same frequency range, they also have kind of a harsh sound. They don’t sound pretty, so making the other person sound good while he’s trying to solo was an interesting, and kind of fun, endeavor,” says Wei-Haas with a chuckle. “We have a fun arrangement of `Take the “A” Train,’ and there are also some French songs, like `La Vie en Rose’ and a Django [Reinhardt] song Nate taught me that fit with that sound, which is more of an accordion sound.20130728_201957

“In addition to the double melodica stuff, I’ll be playing some solo pieces in the show. I’ve taken on a project of making solo piano arrangements of popular electronic dance music songs. That sounds like a stretch, but in many ways, the aesthetic lends itself to a very classical kind of style. I’ve got some funky originals we’ll play, and Nate has a bunch of originals, too. We’ll also throw some of our own arrangements of songs we’ve grown up loving,” he adds.

Wei-Haas tends to use the word “fun” when he talks about the music created by the Koan Collective. It’s clear from his conversation that he and Wong are not only having a blast with their current shows, but that they’ve also been getting a charge out of their musical partnership from the very beginning. Both were students at Berklee College of Music in Boston when Wei-Haas, a Tulsa boy, met Wong, who hails from Hong Kong. Soon, they were making music together.

“Nate would come over to my apartment late at night, and we’d write these really silly songs on the piano,” Wei-Haas recalls. “He’d write a melody, and I’d start accompanying him, and then we’d switch, right in the middle of the song, and trade solos. It was just a fun way of writing songs together.

“Then we started playing together more, and it clicked and made sense. Musically, we understood each other, and on a bigger level, there was that camaraderie that’s really important when you play, so that you understand one another.   Just having the right vibe is very, very important – being able to hang out and laugh, outside of the bandstand, I hold as very important, too.”

After Berklee, Wei-Haas moved to Chicago with the rest of the members of a jazz group, which ultimately broke up. Now contemplating a move back to his hometown, he was in the meantime delighted to reunite with Wong, who’d relocated to Fayetteville, Ark.

“He approached me a few months ago and he was like, `Man, I just realized: Fayetteville’s two hours from Tulsa. Let’s book some shows and see if we can make this happen,'” remembers Wei-Haas. “We treated it as an experiment. We did some duo shows with just drums and keys, and then we found a bassist, and the first time went so well and was so positively received that we did it again.”

For the Jazz Depot show, Wong, whose primary instrument is drums, and keyboardist Wei-Haas will be joined by the busy bassist Jordan Hehl, a fixture on the Tulsa jazz scene.20130728_201752

“Every time I go back to Tulsa, it’s so cool to see how the town is growing,” says Wei-Haas. “There’s always a new bar, a new spot, where live music’s happening. And the coolest part to me is that there are people at the shows. In Boston, and even in Fayetteville, that’s not necessarily true. You have to do a little more promotion and hustle a little bit. But every time I’ve gone back to Tulsa, I’ve seen people coming out and really appreciating live music. Its incredible how much of an impact the Jazz Hall of Fame has had on Tulsa’s vibrant music scene.”

 

              The Koan Collective is set to begin at 8 p.m. Saturday, Sept. 14, at theOklahoma Jazz Hall of Fame, located in downtown Tulsa’s Jazz Depot, 111 E. First Street. Tickets can be purchased at the depot, from www.myticketoffice.com, or by calling Bettie Downing at 918-281-8609. General admission is $15, reserved table seating $20. Seniors and Jazz Hall members are admitted for $10, and high school and junior high students for $5.The show is a part of the Jazz Hall’s 2013 Autumn Concert Series.

The Oklahoma Jazz Hall of Fame is a 501(c)(3) non-profit cultural and educational organization, with a mission to inspire creativity and improve the quality of life for all Oklahomans through preservation, education, and performance of jazz, our uniquely American art form.

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Amina Figarova at The Oklahoma Jazz Hall of Fame

Amina Figarova Quintet Takes Jazz Depot Stage Thursday, August 15

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Internationally known jazz musician and composer Amina Figarova, a native of the former Iron Curtain country of Azerbaijan, has been playing the piano since 1968.

Not bad, when you consider she was born in 1966.

“I started walking early,” she recalls, “and I walked over to our piano and started using my fingers on it. My mother wasn’t a musician, but she could play a few songs, and she showed me where to put my fingers on the keys. It was very basic.

“I’m coming from a very musical family, although they weren’t musicians, so it was somewhere in my blood and genes. The next thing I did, when I was three, was pick up melodies I heard on the radio. At the time, what you could hear on the radio were popular songs in Azerbaijan. So the piano became my favorite toy. My mother realized there was something special going on, so she bought a grand piano to take the place of the old upright piano we had.”

Still, even though she started at a remarkably early age, Figarova was never forced into musical pursuits by her family.

“No, nobody pushed me,” she says. “My mother didn’t want me to be a child prodigy, so since I wasn’t pushed, it was all very natural.”

An obviously precocious talent like hers could hardly be ignored, however. So, by the time she was six, Figarova was taking classes at “a special music conservatory for kids,” where everything she learned revolved around classical music.

“Playing in other genres and styles was not encouraged there,” she notes. “But it was encouraged by my parents, especially my mother. I listened a lot to jazz music as a kid – my mother would play Louis Armstrong and Oscar Peterson – and I loved it. But I denied it because, being influenced by my teachers, it was classical, classical, classical. So jazz remained a mystery to me. I did not think I was able to do that.”

Years later, when she was studying at the Rotterdam Conservatory in the Netherlands, where she would also go on holidays, she heard a performer who changed her mind.

“I met this great jazz player in the Netherlands, who had an ability to do everything,” she remembers. “Rob van Kreeveld. He’d just go all over the place. I listened to him, and I heard him do some classical quotes, and I thought, `If he can do that, can go from classical to jazz, why can’t I?’ So I asked him if I could study with him.vankreeveld_02

“I called from the Netherlands to my mother, and she said, `I told you that you could do it all your life. Just go do it,'” Figarova added with a laugh.

She eventually came to America to study at the Berklee College of Music in Boston, where she continued honing her skills as both a solo pianist and jazz composer. The idea to put together her own group solidified after she attended the Thelonious Monk Jazz Colony Summer Camp in Aspen, Colorado, back in 1998.

“As a classical player, I had always loved the sound of big bands, because I had played with a lot of symphonic orchestras,” she explains. “But I also knew that there wasn’t much opportunity to play solos. Then I was in Colorado playing with a big band, looking out over a beautiful mountain view, and that was the moment my sextet was born. I knew I had to create a band that was powerful like a big band, but allowed for more individual freedom.”

Figarova works in both a sextet and a quintet, and it’s the latter that she’ll be bringing to the Jazz Depot. A mixture of players from both Holland and New York, where Figarova now lives, the group includes Alex Pope Norris on trumpet, Jeroen Vierdag on bass, Jason Brown on drums, and Bart Platteu, Figarova’s husband, on flute.

The Amina Figarova Quintet is set to begin at 7:00p.m. Thursday, August 15, at the Oklahoma Jazz Hall of Fame, located in downtown Tulsa’s Jazz Depot, 111 E. First Street. Tickets can be purchased at the depot, from  www.myticketoffice.com, or by calling Bettie Downing at 918-281-8609. General admission is $15, reserved table seating $20. Seniors and Jazz Hall members are admitted for $10, and high school and junior high students for $5.

Ms. Figarova is also scheduled to conduct a jazz-piano master class on Wednesday, August 14, 1:00 pm, for high school and college musicians. The event is a part of the Jazz Hall’s Summer Concert Series.

The Oklahoma Jazz Hall of Fame is a 501(c)(3) non-profit cultural and educational organization, with a mission to inspire creativity and improve the quality of life for all Oklahomans through preservation, education, and performance of jazz, our uniquely American art form.

 

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