OSU Jazz Ensemble I Featuring Vocalist Gillian Margot and Pianist Geoffrey Keezer at Seretean Concert Hall!

 

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OSU Jazz  is excited to feature vocalist Gillian Margot and three-time GRAMMY nominated pianist Geoffrey Keezer with the OSU Jazz Ensemble I on April 5th at 7pm in the Seretean Concert Hall.
$8 General Admission / $6 Students & Seniors

Additional Show Information:

Date/Time: Tuesday April 5th 2016  7 00 pm

Location: 132 Seretean Center Stillwater, OK 74078-4077

Phone: 405-744-6133  Press “1” for information on events

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OSU Jazz Website: http://www.osujazz.com

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Dean Demerritt Jazz Tribe Featuring Tommy Poole at Bodean Seafood Lounge

Tommy Poole Bodean's Seafood

Additional Show Information:

Day/Date: Sunday August 23rd, 2015 7 pm-10 pm

Location: 3376 E 51st St, Tulsa, OK 74135

Phone: (918) 743-3861

Dean Demerritt’s Website: www.deandemerritt.com

Bodean Seafood’s Websitewww.bodean.net

 

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Swunky Face Big Band at Mixco!

Swunky Face Mixco

It’s Just So Swunky, Baby!

Put together a cool name, a great atmosphere, and so much talent that it can barely fit on this page much less in a night club, and you have the recipe for an unforgettable experience! This is a can’t miss show…

Additional Show Information:

Date/Time: Friday July 10th, 2015 9:00pm-12:00 am

Location: 3rd & Denver, Tulsa, Oklahoma

Phone: (918) 932-8571

Website: www.mixcotulsa.com

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

Mike Cameron Website: http://www.michaelcameronmusic.com/

48th Annual Green Country Jazz Festival Featuring Terri Lyne Carrington

NSU Jazz 48th GCJF poster

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.

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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.

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John Fedchock and The NSU Jazz Ensemble at the Oklahoma Jazz Hall of Fame

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Grammy-Nominated Trombonist John Fedchock Joins NSU Jazz Ensemble for Sunday’s Jazz Depot Show

            Saxophonist Tommy Poole, director of jazz studies at Northeastern State University in Tahlequah, says there’s no reason trombonist, arranger, and bandleader John Fedchock should remember the last time they played together.

Poole, however, will never forget it.

“It was right around the time when Dizzy Gillespie died [on January 6, 1993], and I was young,” recalls Poole. “I was part of a big band, a school big band, that was backing him up at a jazz conference – and I remember him playing ‘way faster than I could play.” He laughs.

“He had an arrangement of the old cartoon theme for The Flintstones, called “Flintstoned,” and it went really fast. I did what I could with what I had at the time. It was a learning experience; that’s my point.”

There’ll probably be more learning, along with plenty of entertaining, going on at Sunday’s concert, when Poole joins his NSU Jazz Ensemble in backing Fedchock. The trombonist is flying in from New York for the show, as well as for the Oklahoma Jazz Educators Fall Workshop, which takes place the next day at NSU’s Jazz Lab.

“We’ve got five saxes, four trombones, four trumpets, four in the rhythm section – piano, bass, drums, guitar – and then we’ll add Fedchock in there as well,” he says, referring to the group playing behind Fedchock Sunday. “I’m one of the five [saxophone players].”

maynardfergusonBefore Fedchock takes the stage, the NSU Jazz Ensemble will start things off with an opening number called “Superbone Meets the Bad Man.”

“It’s kind of a funny title,” notes Poole, “but it was a big hit for Maynard Ferguson. It’ll feature our first trombonist, Zach Gunkel, and our baritone sax player Kaleb Baquera.”

Other soloists who’ll be featured throughout the evening include tenor saxophonist Joe Barger, trumpeter Austin Stunkard, pianist Hiroki Ohsawa, guitarist Nick Meena, bassist Matt Butler, and drummer Katy Peacock.

“It’s always a pleasure working with Dr. Poole and the NSU Jazz Ensemble,” said Jason McIntosh, Oklahoma Jazz Hall of Fame CEO. “Dr. Poole is a leader in music education, known for developing NSU’s jazz program through energizing young musicians so they can fully reach their potential. ”

“We’re going to do all John Fedchock compositions, except for one of the songs, a standard called `What’s New,’ says Poole. “It’s his arrangement.”

Fedchock’s Grammy nomination was, in fact, for his arranging. His arrangement of his own composition, “Caribbean Fire Dance,” was a finalist for Best Instrumental Arrangement in 2003. It appeared on the John Fedchock New York Big Band’s disc No Nonsense.

Called “a superior jazz trombonist” by noted music critic and writer Leonard Feather and “one of the country’s most accomplished trombonists” by the Cleveland Plain

Woody Herman Rochester, N.Y. 1976

Woody Herman Rochester, N.Y. 1976 (Photo credit: Wikipedia)

Dealer, Fedchock made his initial splash in 1980, when he began playing with jazz and big-band legend Woody Herman. He toured with Herman’s Thundering Herd for seven years, working as both music director and featured soloist, and served as musical coordinator and chief arranger for the 1986 Herman disc 50th Anniversary Tour as well as 1987’s Woody’s Gold Star. For his part, the legendary bandleader called Fedchock his “right hand man.” A quote from Herman published on Fedchock’s website (www.johnfedchock.com), adds, “Everything I ask of John he accomplishes, and I ask a lot. He’s a major talent.”

Although Herman passed away in ’87, his orchestra continues to record and tour, and Fedchock continues to be closely associated with the group, composing, arranging, and occasionally playing in the band.

In addition to touring with the likes of T.S. Monk, Gerry Mulligan’s Concert Jazz Band, Louie Bellson’s Big Band, and the Carnegie Hall Jazz Band, Fedchock has recorded four CDs with his own big band. The discs New York Big Band and On the Edge were included in Downbeat magazine’s list of best CD’s of the ’90s, and the group’s Hit the Bricks was similarly honored by the publication as one of the best of 2000.

A strong advocate for arts in education, Fedchock holds a master’s degree in jazz studies and contemporary music from the Eastman School of Music and conducts seminars and workshops at universities and colleges across the country. In addition to headlining the Sunday afternoon concert and appearing at the Oklahoma jazz educators’ meeting in Tahlequah, he plans to spend time working with the members of the NSU Jazz Ensemble at the Jazz Depot, prior to their performance.

John Fedchock, Tommy Poole, and the NSU Jazz Ensemble are set to begin at5:00p.m. Sunday, Nov. 3 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, fromwww.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 Fameis 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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Mike Cameron presents: “A Don Byas Tribute” at the Oklahoma Jazz Hall Of Fame

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Mike Cameron Presents Tribute to Oklahoma 

Sax Man Don Byas Sunday at Jazz Depot

As far as fellow saxophonist Mike Cameron is concerned, Oklahoma jazzman Don Byas was the one big-band era sax player who “best synthesized the swing styles and the bebop styles.”

Explains Cameron, “He was an extreme virtuoso as far as getting around bebop [chord] changes, but he did it with that old swing mentality.”

It’s fitting, then, that the Byas tribute show Cameron’s producing for the Jazz Depot Sunday will feature a blend of those two musical styles – swing and bebop. In doing it, Cameron will be joined by three musicians well known to Depot patrons: keyboardist Scott McQuade, drummer Jared Johnson, and saxophonist Tommy Poole. Other reed players, including the University of Tulsa’s Bobby Kitchen, are expected to sit in during the course of the evening.

“Swing will be the primary focus of the concert,” says Cameron. “There’ll be a lot of swing, and I think we’re going to do some of Tommy’s originals, and some of mine. We’ll do the bebop stuff with a little more of a modern approach; Scott gets really creative in that respect.

“We’re going to play some Don Byas compositions; we’ll play some by Sonny Rollins and John Coltrane as well,” he adds. “I think we’re going to do a couple of movements from [Coltrane’s] Love Supreme album. We’ll do one or two from Michael Brecker, and there are some modern saxophone players who write some great stuff – like a guy named Chris Potter. We’ll do one of his, too.”

This emphasis on songs composed by saxophonists is the major difference between last year’s Byas tribute, which took place on the 100th anniversary of his birth, and Sunday’s show. As was the case with the 2012 event, however, Sunday’s concert is intended to draw attention to one of the greatest jazz saxophonists who ever lived.don byas 1

Carlos Wesley Byas, born in Muskogee on Oct. 21, 1912, started his first band while attending Langston University. He named that early group Don Carlos and His Collegiate Ramblers, giving him the “Don” nickname that stayed with him throughout his career. By that time, he’d already worked with Oklahoma City’s legendary Blue Devils and Kansas City’s Bennie Moten Orchestra, which often appeared on the same stage as the Blue Devils in band “battles” during the ’20s.

Byas spent most of the 1930s in California, playing tenor sax in bands led by Lionel Hampton, Eddie Barefield, and Buck Clayton. Crossing the country to New York at the end of that decade, he worked with Lucky Millinder, Benny Carter, and other noted bandleaders. His most visible gig of the early 1940s came when he replaced Lester Young in the Count Basie Orchestra (which had arisen from the ashes of Benny Moten’s Kansas City group.) He made more waves as a player in the emerging bebop scene, performing with Dizzy Gillespie, Charlie Parker, and leading his own aggregation.

In the late ’40s, Byas settled in Paris, later moving to Amsterdam. Although other jazz greats had played overseas, Byas was, according to historian William W. Savage Jr., “the first of a number of prominent American jazz expatriates.”

Byas returned for the occasional American job, including a 1970 appearance at the Newport Jazz Festival, but he lived overseas for the rest of his life, dying of lung cancer in 1972.

“Saxophonist Don Byas was one of the most influential instrumentalists in the history of American jazz,” said Jason McIntosh, Oklahoma Jazz Hall of Fame CEO. “This time each year we not only take the time to reflect upon Byas’ musical legacy, but we enjoy introducing new audiences to the music of this Oklahoma-born legend. We appreciate the next generation of great Oklahoma musicians-like Mike Cameron-paying tribute to an Oklahoma icon.”

In addition to providing Cameron with the opportunity to honor one of his favorite jazzmen – as he did last October, when the event debuted at the Jazz Depot – this year’s show also gives him the chance to headline with Poole for what, essentially, is the first time.tommy poole 1

“Tommy and I have never done a show together,” says Cameron. “It’s one of those things. If it’s a singer’s gig, for instance, they don’t need more than one saxophone player. We’ve played some big-band shows with Mike Bennett and some other big bands around town, but never in a small group like this, a solo-feature kind of thing.”

Because the concert bumps up against another McQuade gig, the Don Byas Tribute Concert will be presented as one full-length show with no break.

“We’ll start right at five and go until about 6:20,” Cameron says, “so it’s be a solid 80-minute set.”

The Don Byas Tribute Concert is set to begin at 5:00p.m. Sunday, Oct. 20 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.

The show is a part of the Jazz Hall’s 2013 Autumn Concert Series.

 

The Oklahoma Jazz Hall of Fameis 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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