| | Kutztown University Jazz Ensemb Dance You Monster CD Kutztown University Jazz Ensemb Discography of CDs
Kutztown University Jazz Ensemble 1: Kristin Grassi (vocals); Andy Warren (acoustic guitar, electric guitar); Trevor Davis (flute, clarinet, alto saxophone, tenor saxophone); Marybeth Kern (flute, clarinet, alto saxophone); Michael Pagnotta (flute, tenor saxophone); Richard Sullivan, Jon McCartney, Nika Belcastro (tenor saxophone); Steve Kenney (baritone saxophone); Matt Cochran, John Stoudt, Amanda Cortezzo, Rachel Sustak, Kyle Fleetman, Jesse Greene, Chris Cole (trumpet, flugelhorn); Claire Socci, Ben Ashton, Julianne Featherman, John Emery (trombone); Dan Magan (bass trombone); Kyle Page (piano, drums, percussion); Mike Scales, Ricardo Guiteau, Marcia Webb (piano); Nimrod Speaks, Paul Tomson (bass guitar); Marques Walls (drums).
The Kutztown University Jazz Ensemble 1 is quite impressive both in its ensemble work and in its wide repertoire. As is usually true with college stage bands, the solos are less impressive, although altoist Trevor Davis does a fine job on Billy Strayhorn's "Isfahan." In addition to some Count Basie swingers ("Shiny Stockings" and "Basie Straight Ahead") and a few standards, there are also two fine vocal features for Kristin Grassi, a run-through of Maria Schneider's adventurous "Dance You Monster to My Sweet Song," and a rather unusual revival of Charles Mingus' "Eat That Chicken." This CD is recommended to fans of modern college jazz orchestras, since this ensemble certainly has plenty of spirit. ~ Scott Yanow Kutztown University Jazz Ensemb Dance You Monster Songs Dance You Monster Review
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Purchase Dance You Monster CD To buy, Click on price to add to cart | Diana Krall Christmas Songs CD (2005)
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This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
John "Wes" Montgomery taught himself to play at the age of nineteen and created a style as influential to jazz guitar as was Charlie Christian's to an earlier generation. Recorded in the early part of his solo career, THE INCREDIBLE JAZZ GUITAR OF WES MONTGOMERY defined standards for hard bop guitar which are as cogent today as they were in 1960.
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Getting her start as a standup comedienne, in the early '90s Jennifer Trainor began to direct her efforts toward shaping a singing career by cutting her performing teeth at small clubs and piano bars in and around the Boston area. Her first CD is a conglomeration of favorite standards mixed with more modern pop material. The only assistance she gets is from Doug Hammer, who augments his piano with the use of keyboard and synthesizer. The latter forms the basis for a string-laden, but enchanting rendition of "In the Wee ...
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Vinyl LP version also available directly from the label at whatmusic The story of instrumental music in Brazil in the 1960s is indelibly linked with that of the bossa trios. Always piano-led, these acoustic trios developed from a hotbed of ferment in the universities and nightclubs of Rio and São Paulo from 1960 until the introduction of elements such as electric bass and organs around 1966 terminally changed the classic trio sound. During this time the main exponents of the genre - all Rio-based - were the Tamba Trio (named after drummer/percussionist Helcio Milito's own invention the 'tamba' drum), the Copa Trio led by ace drummer Dom Um and the Bossa Três led by that dandy-about-town Luiz Carlos Vinhas. Many of these trios were originally based on the line-ups used to record with João Gilberto (the Walter Wanderley Trio) on his 1958 debut LP. According to Bebeto, bassist and reeds player from Tamba Trio, his group was formed originally as a backing band for trombonist Raul de Barros and enjoyed playing together so much that the trio format stuck. However, many of the trios used the new recording techniques such as 'punch-in' and 2-track recording to augment the limitations of the piano, bass & drums setup. The Tamba Trio used Bebeto's obvious skills on flute and sax as well as vocals, and most of the trios developed a style whereby they might not actually sing but would harmonise vocal passages in the choruses of the better known songs they were playing. According to Bebeto the Tamba Trio included a lot more vocals in their live sets than on the recordings, which must have been some feat!In an obvious move by the record companies to cash in on the trio phenomenon, many of the trios were employed as backing bands for the emerging singers of the day. Meirelles' Copa 3 was expanded to 5 to back Jorge Ben on his ...
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