17 Results for : fathead

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    Sound-Effect
    Steve Nelson's Debut auf HighNote mit dem Piano-Schwergewicht Mulgrew Miller! Steve Nelson gilt seit den 90ziger Jahren als einer der vielversprechendsten Vibraphonisten. Sein federleichtes Spiel ist beeinflusst von Milt Jackson, doch entwickelte er seinen eigenen Sound in der Zusammenarbeit mit zahlreichen hochkarätigen Bands: u.a. mit Mulgrew Miller, David Fathead Newman, Johnny Griffin und als jahrelanges Mitglied von Dave Holland's Quintett bzw. Big Band. Gemeinsam mit dem großartigen Pianis
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    Twilight Moods
    Twilight Moods is not a jazz CD in the classic sense, although one can hear both jazz and classical influences interwoven in the compositions of this beautiful and ambient 'soundtrack' album. Several musicians had a hand in creating Twilight Moods, including Marcus on acoustic piano, C and Bass Flutes, and synthesizers. Tom Artwick adds flute on Forever Waltz, and three different bassists and drums/percussionist round out this eclectic group. Marcus hails from Wash DC, but worked for many years in New Orleans and performed and studied with many jazz greats, including Ellis Marsallis, Ray Bryant, Sonny Fortune, David 'Fathead' Newman, and many others. Marcus now resides in Roanoke, VA.
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    The Soulful Mr.Newman
    David"Fathead" Newman -Über Jahrzehnte hat er das Tenorsaxophon im Jazz geprägt. Auf dieser 3 CD Box ist er mit einer Vielzahl von Mitmusikern zu bestaunen. Mit dabei: Cedar Walton, Winard Harper, Curtis Fuller, Steve Nelson, Peter Bernstein, John Hicks, Steve Turre, Peter Washington, Jimmy Cobb. Die ultimative Kollektion!
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    View from the Edge
    David Leonhardt bio -Career Highlights Twenty year with saxophonist David "Fathead" Newman: arranging and playing on four CDs, international tours. 1988-2008 Four year as musical director for jazz vocalist Jon Hendricks: international tours, jazz festivals, radio and TV broadcasts. 1983-1987 President and founder of Big Bang Records with eighteen CDs as a leader. 1993 to present. Fifteen years leading The David Leonhardt Jazz Group a concert ensemble with hundreds of performances: theaters, Universities, Colleges, festivals, arts organizations US, Canada and Europe. 1993-2008 Twelve years freelance experience in New York City. Broadway to the Today Show, jazz clubs to dance halls, Bar Mitzvahs and weddings to cabaret clubs and Lincoln Center, jingles to jazz records. 1980-1992 Twenty years performing with legendary Tap Dancers. Musical director for Manhattan Tap and The Shelley Oliver Tap Dancers including National and European tours, television and DVDs. 1987 to 2008 Decades of experiences as a jazz educator in universities, colleges, clinics and workshops. Ten years of presenting "Jazz For Kids" an interactive children's program. First jazz experience playing piano as a teenager with jazz educator Jamey Aebersold in concerts, clubs and school presentations in Louisville, KY. 1974-1980 First professional engagement at the age of 14 in a teenage rock band. First road experience with a southern rock band touring Dixie age 16. 1970-1976 David Leonhardt, jazz pianist and composer, is a highly skilled and versatile artist. His thirty seven years of professional experience has included recordings, T.V. and radio, concerts and festivals, night clubs and stage shows. He has appeared internationally throughout North and South America, Europe, the Middle and Far East with some of the biggest names in jazz. He leads his own concert ensemble The David Leonhardt Jazz Group and is the founder and president of Big Bang Records with fifteen CDs as a leader. Recently Mr. Leonhardt arranged and recorded a jazz CD with saxophonist David 'Fathead' Newman, and released the CDs 'I'll Be Home For Christmas' and 'In The Moment'. Mr. Leonhardt is on the roster of The Pennsylvania Arts On Tour and gives educational clinics worldwide. Performing and studying as a teenager in Louisville, Kentucky with noted educator Jamey Aebersold, Mr. Leonhardt acquired his skills backing such diverse jazz talents as Buddy Defranco, Dave Liebman, and Buddy Tate. After moving to New York City in his twenties Mr. Leonhardt established himself as an international performing artist when he toured for four years as musical director for jazz legend Jon Hendricks, accompanying vocalists such as Diane Reeves and Bobby McFarren. Joining The David 'Fathead' Newman Quintet he furthered his reputation as a burning jazz pianist and made his name familiar on the New York jazz scene. He went on to form his own band performing in the U.S., Japan, and Europe. In 1991 he founded Big Bang Records and released his first CD 'Departure' to great critical acclaim as well as his popular CD 'Reflections'. Mr. Leonhardt has produced, arranged, and performed on numerous recordings with jazz stars Stan Getz, Slide Hampton, Jon Hendricks, Eddie Henderson, Robin Eubanks, Ray Drummond, and Lewis Nash. His compositions have been recorded by such jazz greats as Stanley Turentine, David 'Fathead' Newman, Hank Crawford, and Claudio Roditi. He has written arrangements for The Art Blakey Big Band and been guest conductor and arranger for The Benny Carter Orchestra. At present Mr. Leonhardt is leading his own band with successful appearances at the International Arts Festival of Shenzen in China, the Winnipeg Jazz Festival, The French Maison de Dance in Lyon, as well festivals and concerts throughout the United States. His all star group has been heard at The Apollo Theater, The Blue Note, and Birdland. He is the musical director for The Shelley Oliver Tap Dancers a popular all female dance group. Vol. 32 No. 3 March 2006 David Leonhardt Interview Taken and Transcribed by Ludwig Van Trikt CADENCE: What was your early beginning like? DAVID LEONHARDT: My first professional job was at the age of 14 in Louisville, KY. I was playing organ in a teen rock and roll band and that job was for a basement make-out party for teenagers when the parents were out of town. I knew from that moment I wanted to be a professional musician. What could be better than being the center of attention to all my peers? Having the girls think I was cool didn't hurt either. Also, I sensed from the start that when the music is playing and the best is happening, the moment has been lifted out of the ordinary. Even then that feeling of being part of something larger than myself was powerful and profound. That band went on to be popular in central Kentucky and we did a lot of high school dances or roller rink dances where the kids would roller skate for two hours then dance for two hours. We were so young that we could not even drive so our moms would load us into their station wagons with all our amps and PA equipment, they would take us all over Kentucky. We played every weekend for a few years. In those days we called it "playing". Later when I started playing with older musicians for more money, we called it "working". Somehow, that change in wording made us feel more grown up. My first girlfriend was a teenage groupie who would follow us around from gig to gig and my next girlfriend was the singer in the band. That pretty much set the pattern for the next twenty years of my life as far as relationships went. That band won a big local battle of the bands and we were awarded a big expensive PA system that was our downfall. Once we had assets we started to argue over them and eventually broke up. After that I joined a southern rock band that copied Allman Brothers songs. I was 16 and the other guys were in their 20's and we were playing Blues bars and nightclubs, playing till the wee hours of the morning. They nicknamed me "The Kid" and I had to lie about my age to play in the clubs. I was the only one in the band that could read music. I would say that sex, drugs, and Rock and Roll was their mantra so it gave me a real education. Back then my audience was bikers and drinkers and people looking to hook up and get high. A real discerning crowd. I loved every minute of it and moved out of my parents house when I was 17. By then I was playing a Wurlitzer electric piano and a Hammond organ. After a year of that I joined a roadhouse country and western band that played six nights a week for a couple years at a country dance hall. The bar owner was the worst. He hated the musicians and made our life hell. But that was where I learned to belly up to the bar and order a drink. We were playing for middle age country dancers who would crowd the dance floor all night long. The music was loud and fun. By this time I had a four keyboard setup adding a clavinet and a fender Rhodes. We lost that gig and went to a real country dive where we played for alcoholics, losers and prostitutes. The smoke was so thick that my eyes would water all night and I finally quit the gig over that. CAD: You must be very familiar with the chitlin circuit, having played for ten years with David "Fathead" Newman? D.L.: When I first started playing Jazz I was 17 years old and knew nothing but had heard two Miles Davis records. One was A Tribute to Jack Johnson, which is a fusion record of rock vamps that knocked me out, and a compilation that included "Seven Steps To Heaven" and "Four". I dug that as well but had no frame of reference to understand about the different styles in Jazz. Luckily for me Jamey Aebersold lived near me and I started hanging out with him at his house and he would show me things on the piano. Jamey is the number one Jazz education/clinic thing so it was great for me to be around that. There were no pianists in town then who would jam with him so he taught me
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    The John Coltrane Songbook
    John Coltrane war einer der Heiligen des Tenorsaxophons, dem hier dieser Tribute gewidmet ist. Klassiker wie Naima, Giant Steps, After the Rain und viele mehr werden hier durch andre Jazzcats wie Arthur Blythe, Larry Coryell, Frank Morgan, Mike LeDonne, Vincent Herring, Billy Hart, David &#145,Fathead&#146, Newman u.v.a interpetiert. Gerade diese frühen Kompositionen des Meisters, prägten die Zeit seiner Zusammarbeit mit Miles Davis oder Thelonious Monk. Ein empfehlenswerter Tribute an den große
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    Four Classic Albums
    "Ray Charles Presents David Newman", "The Sound of Wide Open Spaces" (with James Clay), "Straight Ahead" and "Fathead Comes On". David "Fathead" Newman war ein großartiger Jazzmusiker mit einem wunderschönen bluesigen Ton. Er begann seine musikalische Karriere als Sideman in Rhythm and Blues Bands in den 1950er Jahren. Seine Spielweise stammt aus der texanischen Tenor-Schule mit großem Blues-Ton, ähnlich wie Don Wilkerson. 1951 traf Newman auch seinen langjährigen Freund Ray Charles, während die beiden Männer mit Fulson spielten. David Newmans Soli sind in den 1950er und frühen 1960er Jahren in den Werken von Ray Charles zu hören, tatsächlich wurde er für den Ray-Charles-Sound entscheidend. Neben Ray Charles spielte er auch mit anderen Großen dieser Zeit, wie James Clay, Hank Crawford, Marcus Belgrave, Milton Turner, Wynton Kelly, Arthur Taylor, Paul Chambers und Charlie Persip.
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    The Blessing
    Der Saxophonist David Fathead Newman hatte die Gabe mit den ganz großen Musikerpersönlichkeiten wie Ray Charles, Dr. John, Eric Clapton, u.v.a. zu spielen. Seine Erfahrungen hat er stets an jüngere Musiker weitergegeben, wie hier auf"The Blessing" seinem leider letzen Album, das vier Wochen vor Newmans Tod noch von Rudy Van Gelder festgehalten wurde. Erhabene Standards und eine großartige Band!
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    • Price: 17.60 EUR excl. shipping

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