Guest Mix: KB Burke’s Quickmix: Back In The Game
RIBS TPTD: ‘Sax Appeal’ 5 – Great Sax 2…
Wow, here we are at the end of April already. This month sure went fast. Well, that means that today the RIBS kitchen is serving up the last of it’s ‘Sax Appeal’ entrees that we’ve been cooking up all month long. We hope that you have enjoyed this look at the many different players of this instrument both past and present.
Since most of the sax-a-teers we’ve heard from this month have been culled from the 50s, 60s and 70s, I thought this time around I’d feature some of the "newer" sax players on the scene today. That means that today’s mix will feature:
Eric Marienthal
George Howard
Dave Koz
Kirk Whalum
Kim Waters
Najee
Pamela Williams
Euge Groove
Richard Elliot
Kenny G
Ronnie Laws
Maceo Parker
I have to admit, I’ve really enjoyed focusing on a particular instrument like this and exploring the various artists who play it. I think there will be more explorations like this in the months ahead here on RIBS.
OK! Another round of "great sax" for ya to close out ‘Sax Appeal’ month as we present to you…
"Sax Appeal 5 – Great Sax 2"
RIBS TPTD: ‘Sax Appeal’ 5 – Great Sax 2
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Right-click here to download .MP3 file (111Mb, 1:19:25)
Download playlist .PDF file here (right-click)
Playlist: (song – artist – album [time])
- Compared To What – Eric Marienthal – Got You Covered [3:42]
- Grazin’ In The Grass – George Howard – When Summer Comes [4:45]
- Do You Know The Way To San Jose? – Pamela Williams – The Look Of Love [4:48]
- All I Do – Kirk Whalum – For You [5:02]
- (Sittin’ On) The Dock Of The Bay – Kim Waters – All Because Of You [4:12]
- Can’t Hide Love – Najee – Najee’s Theme [5:09]
- Going In Circles – Maceo Parker – Funkoverload [6:55]
- Pink Panther Theme – Dave Koz – At The Movies [3:38]
- Sax Attack – Kenny G – Gravity [5:02]
- New Jack Saturday – Eric Marienthal – Easy Street [5:09]
- Get ‘em Goin’ – Euge Groove – Just Feels Right [5:44]
- That’s The Way Love Goes – Kirk Whalum – For You [4:41]
- In The Groove – Richard Elliot – Jumpin’ Off [4:16]
- Just Be My Lady – Kim Waters – All Because Of You [4:49]
- Chillaxin – Euge Groove – Just Feels Right [6:06]
- You Don’t Know – Pamela Williams – Sweet Saxsations [4:56]
- Why Do You Laugh At Me – Ronnie Laws – Pressure Sensitive [3:59]
Have you missed any of the RIBS mixes we’ve posted? If you have there is now an easy way to catch up on what we’ve been up to. Just go check out the new RIBS Archives Page to see a very easy to read listing of every post (and music mix) we’ve uploaded to the site.
Enjoy!
Technorati Tags: soul, RIBS, TPTD, Rhythms In Black Satin, playlist, mp3, mp3blog, soul music, jazz, Eric Marienthal, Dave Koz, Pamela Williams, Euge Groove, George Howard, Kenny G, Kim Waters, Kirk Whalum, Maceo Parker, Najee, Richard Elliot, Ronnie Laws
6 Latin Jazz Tracks That Feature Guitarist Edgardo Miranda
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Guitarists are few and far between in the Latin Jazz world, but Edgardo Miranda used his vast array of skills to make a career as a guitar player in the genre. His mastery of both Afro-Cuban and Puerto Rican rhythms formed the foundation of his playing, helping him spin authentic phrases in improvisations and beyond. His knowledge went beyond common salsa forms though; Miranda dug deeply into Cuban folklore and Puerto Rican jibaro music. Miranda knew the songs, traditional licks, and standard guajeos that shaped the style, and he integrated all of that into his guitar playing. He played the Puerto Rican cuatro at an equally high level, finding a place in traditional bomba and plena performances. Miranda fluently worked through jazz changes, integrating bebop lines, complex harmony, and thematic development with an equal artistry. Rock and funk rhythms played a significant role in Miranda’s voice as well, allowing him to walk into the contemporary music world at any moment. He expertly shaped his tone to fit the context of his performance, moving from clean, jazz inflected tones to dirty and loud distortion. Taste and keen artistic judgment always drove Miranda’s work – although he felt comfortable in many worlds, he never forced conflicting aesthetics upon a musical setting. These are the signs of an outstanding musician, regardless of instrument, and as a result, Miranda found a regular spot in many pieces of New York’s Latin Jazz world.
Despite his acceptance in New York’s Latin Jazz circles, Miranda appeared sporadically on Latin Jazz albums, mostly playing a supporting role. In many cases, musicians would form a more traditional ensemble including a rhythm section and wind players for their albums; Miranda would enter the mix for one or two tunes. Some artists would integrate Miranda to add a modern edge to their sound, referencing rock energy or electric textures with the guitar. Miranda could play with a fusion intensity or a jazz subtlety, so his guitar playing could add several different layers of color to a recording. Artists often included Miranda’s cuatro skill into their pieces that drew upon Puerto Rican bomba or plena. Very few guitarists played cuatro skillfully, and even fewer musicians could play the instrument with an authentic feel and approach; Miranda covered all these bases, so he was a perfect choice for any recording with a traditional Puerto Rican feel. Still other times, musicians would choose to use Miranda simply because he was an outstanding soloist, knowing that he would add a meaningful statement to his work. He found an abundance of work for many reasons; he simply acted as a guest in most cases rather than a regular band member.
I’ve collected several examples of Miranda’s work across a wide spectrum of Latin Jazz albums. Each recording demonstrates a different strength inherent in Miranda’s playing and showcases his versatility as a musician. Individually, each track stands as a prime example of his artistry, musical taste, and individual voice. As a collection, these tracks paint a more complete picture of Miranda the guitarist and Latin Jazz giant. Take a minute to check them out and remember this important figure in Latin Jazz.
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1. “Gumbo” – Cortijo & His Time Machine, Rafael Cortijo
Miranda took a major role in the production of Cortijo & His Time Machine, and his unique skills allowed him to build a modern sound upon Cortijo’s authentic blend of jazz, bomba, and plena. “Gumbo,” a piece co-written by Miranda, illustrates this point strongly, with a contemporary funky sound built upon a standard percussive foundation. As a fat electric bass sound rides a solid backbeat, Miranda’s funky strumming offsets the bold Fender Rhodes sound. Miranda spontaneously bursts into extended single note lines that race in unison alongside the wind players, pushing the arrangement into a powerful momentum. There’s a healthy helping of jazz improvisation with solos from most musicians, including Miranda. His heavily distorted tone cuts through the ensemble with running lines and melodic ingenuity. Miranda continues to fill around melodies and other soloists, providing a consistent interactive voice throughout the track. The song evolves through a series of tempo and feel changes, walking the line between funk and traditional Puerto Rican styles. Miranda holds down the foundation throughout the song, allowing some deep insight into the fusion of modernity and tradition that made Cortijo & His Time Machine such as classic album.
2. “Evidence” – Ya Yo Me Cure, Jerry Gonzalez
When Jerry Gonzalez recorded Ya Yo Me Cure in 1979, he was still refining the concept of the Fort Apache Band, using a larger ensemble, which frequently used Miranda on guitar. Even at this point, Gonzalez walked the tightrope between jazz and Afro-Cuban music with a rare fearlessness – here, he combines the melodic shape of Thelonious Monk’s “Evidence” with the rhythmic structure of the classic Frank Emilio Flynn descarga “Gadinga, Modongo Y Sandunga” over a ferocious rumba. The group strolls through the melody with a confident looseness, moving into passionately wild improvisations from Gonzalez on trumpet and pianist Hilton Ruiz. Miranda hangs in the back throughout this piece of the song, cleverly comping unobtrusively around Ruiz’s active chordal work. After Ruiz storms through a bebop infused solo, Miranda enters his improvisation with long interesting lines that reference Charlie Christian more than Arsenio Rodriguez. Miranda smartly plays with a dry acoustic tone, outlining the changes with a knowledgeable approach that comfortably fits into Afro-Cuban rhythmic structures. “Evidence” displays another side to Miranda’s musicianship that finds him easily playing in a more traditional jazz context.
Puente rarely used guitar on his Latin Jazz recordings, so the inclusion of Miranda served as a major complement to the guitarist’s skills. Pianist Jorge Dalto establishes the familiar vamp from the 1960s hit, giving Miranda a chance to engage in a brief improvisation. Puente’s rhythm section maintains an authentic cha cha cha while Miranda infuses the melody with all the funky grease of the original recording. The rhythm section starts pushing the groove slightly as Miranda improvises carefully around the melody. After a break, Miranda switches to cuatro for a traditional montuno and then a guitar solo that walks the line between contemporary licks and the cha cha cha’s rhythmic language. As Miranda falls more deeply into Afro-Cuban phrasing, the rhythm section explodes into double time for an exciting flute improvisation from Mario Rivera. The band returns to the original feel, giving Miranda an opportunity to restate the main theme. The overall track shines as a feature for Miranda, who plays with a refined ability to work authentically among one of the music’s best rhythm sections while referencing popular music.
Miranda had the ability to take even a short appearance and make it into a memorable event, as evidenced in this track from conguero Carlos “Patato” Valdes’ album El Hombre
Miranda spent years exploring traditional Puerto Rican music with Los Pleneros De 21 (and beyond), so his cuatro playing fit perfectly into trombonist William Cepeda’s concept of Afro-Rican Jazz. As “Ponte Pa’l Monte” opens, Miranda improvises tipico lines around an explosive trumpet before falling into a unison melodic line with pianist Eric Figueroa. Miranda’s cuatro trades places in the forefront with the jazz tinged horn section, the churning percussion, and Cepeda’s trombone, creating an interesting textural mix. While bassist Ruben Rodriguez takes a solo, Miranda wisely disappears into the background, allowing Rodriguez to take center stage. After an explosive percussion break, Miranda assertively states his territory with rapid runs that quickly demonstrate his chops. The onslaught of notes continues throughout the solo, yet Miranda never falls into the trap of virtuosity. He creates jagged rhythmic emphasis with the beginning and ends of his phrases that wrap tightly around the bomba sica foundation. This track finds Miranda in a combination of traditional Puerto Rican music and jazz, another context where his broad skills become just the right tool for the job.
Throughout Chango Te Llama
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Check Out These Related Posts:
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
8 Latin Jazz Tracks Featuring Manny Oquendo
7 Great Latin Jazz Albums From Ralph Mercado and RMM Records
Orlando Lopez (1933 – 2009): 5 Albums To Help Remember Cachaito
———-
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Quiktraks (60 sec audio) – Day 2
Hey crew….
Here’s a lil sumthin’ I was messin’ around with this evening. No loops this time. This track was originally composed in an old Mac sequencer called Master Tracks Pro. I programmed the drums using my Yamaha RY30 drum machine. I also used a Yamaha TX-81Z for the bass synth, and Yamaha TG-55 for the synth pad. I took the MIDI sequence and imported it in to Logic Express 7.2 and used all EXS24P sampler voices. The track name, No Need For Clocks, was for an artist I was working on a demo for (this is what I came up with, though she eventually did something different with the song).
I seem to be into producing chilled beats lately… I wonder why… 
The bounce audio came out real rough, and I dont know why. There are no plugins at all on the tracks, but I did say I will post whatever I come up with, good and not so good. Note to self: find out why the bounce is bad.
Background Notes:
-Recorded with: Logic Express 7.2.2
-Computer: Mac Powerbook G4 Aluminum
-Drums: EXS24P Sampler Hip Hop Kit
-Bass Synth: EXS24P Sampler Analog Bass
-Synth Pad: EXS24P Sampler Filtered Dark Analog Pad
My personal tracks are on my Myspace page
The Lab is here.
Thanks!
F!
If You Missed It: SoulPersona Interview at soulinterviews.com
Morgan “SoulPersona” Howell is one of my favorite producers out there. You may not have his name in your mouth yet, but it’s only a matter of time. Found and operator of DigiSoul Recordings, he’s worked with the likes of R.A.M.P. (Roy Ayers Music Project), Jocelyn Brown, Replife, Peachy Salthouse, and well as others.
http://www.digisoul.co.uk
http://www.myspace.com/digisoulmusic
[ blog post from soulinterviews.com ] Soulpersona’s debut LP “Soulacoaster” is a reassuringly heroic reflection of the multi-faceted soul behind the persona. Born in Cardiff, Wales, Soulpersona began his relationship with music in a farmhouse attic with a record player, listening to everything in his parents record collection, playing along with an improvised drumkit made of cardboard boxes and ice cream tubs. As years progressed, soulpersona became infatuated by 70’s Soul, Raregroove, Funk and Jazz recordings, his own brand of musical expression was soon to follow, culminating in the outstanding debut that is “Soulacoaster”.
Soulpersona has dedicated his life to soul music, a decision that paid off in 2001, when he caught the attention of Jocelyn Brown, who at the time was auditioning producers. Playing his trademark Raregroove sound in a room full of House Music producers, Soulpersona went on to work for Jocelyn as her Creative A&R and as personal assistant to Oliver Cheatham.
Six years on, Soulpersonas work has been both complimented and complemented by his peers, which include Jocelyn Brown, RAMP, Harvey Fuqua (of Motown), Patti Austin, Leon Ware, Oliver Cheatham and Bluey (Incognito) to name a handful . This recognition is well deserved, for there is a control demonstrated in Soulpersona’s music, particularly in the production that implies a far deeper understanding of music than he lets on. The music has a directness that is both disarming and uplifting at the same time, presenting a stark reality that laces the flawless grooves with an edge that can only be described as raregroove soul.
At present Soulpersona is working on producing RAMPs new LP as well as recording with Jocelyn Brown, Darien (Reel People) Punk Pappa, Nude Continuum, Princess Freesia and many, many more. He hopes to take his live raregroove show on the road this summer and is currently taking deejay and performance bookings.
For interview/Promo requests, bookings and any other info: email:digisoulmusic@gmail.com
The Digisoul Band:
Keys: Michael Rendall aka Jackanory
Bass: Punk Pappa
Guitar: Richard Molyneux
Drums: SoulP
Percussion: Gabriel Nuzzoli
Playlist:
01 – Soulpersona feat. Darien - Can’t Hide (Soulacoaster 2009, promo)
02 – Soulpersona feat. Replife – Memory Lane (Soul P’s Original Mix) (Digisoul Pres. Soulpersona & Jackanory 2009, promo)
03 – Tashan – Read My Mind (Soulpersona Remix feat. Punk Pappa 2008, promo)
04 – Soulpersona feat. Princess Freesia – Candy Wrapper (Soulacoaster 2009, promo)
05 – Soulpersona – Love Is In Your Eyes (The Lapdancer 2009, promo)
Soul Unsigned Commercial
Background music during interview:
Soulpersona – Doin’ It (The Lapdancer 2009, promo), MFSB – My Mood, Dre Rock – Escapism (Soulpersona Remix), Big Daddy Kane – Smooth Operator, Peachy Salthouse – Back & Forth (Soulpersona Remix), Soulpersona feat. Jocelyn Brown (Remix), Cool Million feat. Nathalie Dorra – Going Out Tonight (Digisoul’s Underground Dub Mix), Ramp – Daylight, Ramp – Daylight (SoulP Remix)
More information:
Soulpersona on MySpace
Digisoul Recordings
Digisoul on MySpace
Soulpersona on Facebook
Contact Soulpersona
OSW- Do It Any Way You Wanna
Work’s been crazy, but here we go…finally
Song Stuck In My Head: I’m Decending From Heaven Above
In honesty, this is one of my favorite pop songs of all-time. Yes, I’m a sucker for a random electric guitar solo and some cutesy lyrics about being in love. Sue me. Even after not hearing it for years and re-discovering it about a week ago, I still can’t help but think this is pop perfection.
Looking Back Upon The Latin Jazz World’s Losses In 2009
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
2009 is still young, but already it has been a memorable year. We’ve some outstanding music from established Latin Jazz artists, who continue to take Latin Jazz and push it into the future. Marlon Simon’s Afrocuban & Live, Wayne Wallace’s Infinity, and Claudio Roditi’s Brazilliance x4 are just a few of the albums from familiar faces that jump to the forefront of 2009’s Latin Jazz world. Younger artists created engaging pieces of art with Latin Jazz albums that honored tradition and explored their personal identities. Scott Oakley’s Canción Para Mi Amor, Grupo Falso Baiano’s Viajando: Choro e Jazz, and Yuri Juarez’s Afroperuano all stand as creative statements from newer voices on the Latin Jazz scene that need to be heard. Fresh faces entered the world of Afro-Peruvian Jazz, giving us some incredible albums, such as jazz pianist Geoffrey Keezer’s Áurea and Manante’s Para Los Engreidos. With eight months left in the year, we can anticipate a wealth of great music; yet, as we look back upon the first piece of 2009, there’s a sobering reality that needs to be recognized.
The Latin Jazz world felt the sorrow of loosing several major figures, who effected broad aspects of the music world from coast to coast. Timbalero Manny Oquendo passed away, leaving behind a massive legacy of recorded works that touch large parts of the jazz and salsa worlds. His work with Eddie Palmieri’s La Perfecta, Grupo Folklorico Y Experimental, and Conjunto Libre stands as some of the best Latin Jazz and salsa in the music’s history. Promoter Ralph Mercado died in March, after spending a lifetime spreading the word about New York’s vibrant Latin Jazz and salsa scene. He ensured the recording of important albums from Eddie Palmieri, Tito Puente, Juan Pablo Torres, Michel Camilo, and more, as well as forming an all-star group that created two memorable albums. Bay Area Saxophonist Ron Stallings died recently, after following his passion for Latin music into a variety of influential San Francisco-based groups. His performances with John Santos and the Machete Ensemble, Que Calor, Wayne Wallace, and John Calloway helped fill several recordings with a substantial voice. New York guitarist and cuatro player Edgardo Miranda passed away after years of high quality musical service alongside some of New York’s finest musicians. Always a reliable sideman, Miranda performed on important albums from Jerry Gonzalez, Cortijo, Tito Puente, William Cepeda, and more. It’s a long list considering we’ve only experienced four months of 2009, and let’s hope that it ends here.
With so many artists leaving us in such a short time, I thought that we should look back upon some of their contributions and remember these artists in a thoughtful light. LJC has covered many aspects of the lives and music attached to these figures, and we’ll continue to honor their memories. As we look into the future, it’s important to remember our past and stand upon our roots as we allow the music to grow. With this in mind, I’ve added some tracked down some videos related to each of these artists and provided links to earlier LJC coverage of their lives. As we enjoy all the new music around us, let’s take a minute to reflect upon all the important work done by our predecessors!
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Manny Oquendo Performing With Conjunto Libre
News Clip On The Machete Ensemble, Including Footage of Saxophonist Ron Stallings
Guitarist Edgardo Miranda Performing With Tito Puente
Ralph Mercado’s Tropijazz All-Stars Performing “Bembe”
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Links to LJC Articles On Oquendo, Mercado, and Stallings:
Manny Oquendo (1931 – 2009): A Career Based On Tradition And Innovation
8 Latin Jazz Tracks Featuring Manny Oquendo
Manny Oquendo’s Influence: Libre Members Working As Bandleaders
Remembering Ralph Mercado (1941 – 2009): Tropijazz All-Stars On Video
7 Great Latin Jazz Albums From Ralph Mercado and RMM Records
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
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RGMS (28th April 2009)
MP3 Download (Right click, Save Target As…) 280409-RGMS
(117 mins, 96 Mb, 112 kbps)
- PLAYLIST
- Heaven & Earth – I Really Love You (1981) That’s Love]
- Funk Deluxe – Tender Lovin’ (1984) [Funk Deluxe]
- Billy Boomer – I Like What She ’s Doin (1982)
- Norman Connors – She’s Gone (1981) [Mr. C]
- Evelyn King – What Are You Waiting For (1981) [I'm In Love]
- Lakeside – It’s Got To Be Love (1981) [Keep On Moving Straight Ahead]
- Jocelyn Brown – If I Can’t Have Your Love (1981)
- Kwick – Let This Moment Be Forever (1980) [Kwick]
- Cecil Parker – Really Really Love You (1980)
- Patterson Twins – They’re Playing Our Song In The Radio (1984)
- Phil Flowers – Stay A While (1984)
- Marvin Sims – Love Is On The Way (1980)
- Convertion – All I Want Is You (1980)
- Larry Whittington – You Can Always Count On Me
- Arthur Adams – I Can’t Believe My Eyes (1973) [Private Tonight]
- Doris Duke – The Feeling Is Right (1969) [I'm A Loser]
- Janet Lawson – Dindi (1977)
- Charles Earland – Drifting (1976) [The Great Pyramid]
- J B Bingham – All Alone By The Telephone (1976)
- Milton Parker – Women Like It Harder (1970)
- Natural Four – I Thought You Were Mine (1969) [Good Vibes!]
- Lee Williams And The Cymbals – Lost Love
- The Originals – I’m Someone Who Cares
- Eugene Smiley & The Essence Of Love – Yes It’s You (1978)
- Lamont Dozier – Groovin On A Natural High (1976) [Right There]
- Jerry Butler – Let’s Make Love (1978) [Nothing Says I Love You Like I Love You]
- Lee Oskar – Feelin’ Happy (1978) [Before The Rain]
- Sharon Ridley – Where Did You Learn To Make Love The Way You Do (1975) [Stay A While With Me]
- Sharon Ridley – Changin’ (1978) [Full Moon]
- The Tams – This Precious Moment (1978)
Audio Vision: Karina Gets The Unplugged Treatment
Listening to Karina’s voice, you are hard pressed to think that she is indeed only sixteen years of age. But she is, and she will blow you away.
Best Songs About Cheating Lovers
Other than Country music, no other type of song delves into the topic of cheating lovers than R&B and Soul songs do. Have you been cheated on by your lover?…
WTA, ATP And USTA Pro Circuit Tennis Action This Week
Filed under: Athletes, Podcasts, Soul/R&B, SoulSites, SoulTrackin', Sports, Tennis
James Blake Upset By Qualifer In Rome
Filed under: Athletes, Podcasts, Soul/R&B, SoulSites, SoulTrackin', Sports, Tennis
Manning Brothers And Williams Sisters Take On New Role As Coaches
Latin Jazz This Week
Filed under: Jazz, Latin Jazz, Podcasts, Soul/R&B, SoulSites, SoulTrackin'
Latin Jazz This Week will bring you a weekly look into news from the Latin Jazz world. You’ll find new releases, recommended performances, web finds, and more. You can check out some current sounds in the Listening Center tab at the top of the page. Performance dates will be kept in the Live Latin Jazz tab at the top of the page.
For the past few weeks, we’ve been reporting on the Grand Opening of Tutuma Social Club, a restaurant and nightclub dedicated to great Afro-Peruvian food and daily doses of Afro-Peruvian Jazz. The Grand Opening celebration was originally scheduled for this week, but due to construction issues, the club’s debut has been postponed until Tuesday May 12th. You’ll still get all that great Afro-Peruvian Jazz that the club promises, you’ll just have to wait a little longer . . . more news as we get closer!
Last week, we reported on the passing of the great New York guitarist and cuatro player Edgardo Miranda, who performed with a wealth of Latin Jazz legends, from Jerry Gonzalez to Papo Vazquez and more. The blog over at La Fonda Boricua also remembered Miranda with a short write-up on his life and music. Check it out HERE.
Ted Panken leads an interesting interview with clarinetist Anat Cohen and Brazilian drummer Duduka da Fonseca over at Jazz.com this week. The pair has worked together often, most prominently on da Fonseca’s 2006 album Samba Jazz in Black and White. Panken goes in deep with the duo, discussing ideas around Brazilian music, da Fonseca’s background, and their ideas about collaboration. It’s an interesting article about a dynamic pair of musicians – check it out HERE.
Focusing The Spotlight: Yuri Juarez & Tutuma Social Club
5 Albums That Remember Bay Area Latin Jazz Saxophonist Ron Stallings (1947 – 2009)
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Bobby Sanabria Conducting The Manhattan School of Music Afro-Latin Jazz Orchestra: Kenya Revisited Live!!!
Irene & Her Latin Jazz Band: A Song Of You
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If you’re in EUROPE this week . . .
DAVID SANCHEZ
WHEN: Saturday 5/2/09
WHERE: Menorca Jazz Festival
Menorca
Balearic Islands, Spain
TIME: 10:00 p.m.
TICKETS: 24 euros
If you’re on the EAST COAST this week . . .
ARTURO O’FARRILL
Solo Piano
WHEN: Wednesday 4/29/09
WHERE: Puppet’s Jazz Bar
481 5th Avenue Park Slope
Brooklyn, NY
TIME: 7:00 p.m.
TICKETS: $10
BLUE MAMBO
WHEN: Wednesday 5/29/09
WHERE: Willie’s Steak House
1832 Westchester Ave
Bronx, NY
TIME: 8:00 p.m.
CHICO O’FARRILL’S AFRO-CUBAN JAZZ ORCHESTRA
WHEN: Sunday 5/3/09
WHERE: Birdland
315 W. 44th Street
Manhattan, NY
TIME: 9:00 p.m. & 11:00 p.m.
TICKETS: $25
CHRIS WASHBURNE & S.Y.O.T.O.S.
WHEN: Sunday 5/3/09
WHERE: Smoke
2751 Broadway
New York, NY
TIME: 8:00 p.m., 10:00 p.m. & 11:30 p.m.
TICKETS: $20 minimum
CHUCHITO VALDES
WHEN: Thursday 4/30/09 – Saturday 5/2/09
WHERE: Bank & Blues Club
Main Street
Daytona Beach, FL
TIME: 10:00 p.m.
TICKETS: $28
DAFNIS PRIETO
WHEN: Saturday 5/2/09
WHERE: Western Connecticut State University – Ives Concert Hall
181 White Street
Danbury, CT
TIME: 7:00 p.m.
TICKETS: $15
GARY MORGAN & PANAMERICANA
WHEN: Sunday 5/3/09
WHERE: Brooklyn Lyceum
227 4th Avenue
Brooklyn, NY
TIME: 9:00 p.m.
TICKETS: $10
HENDRIK MEURKENS
WHEN: Wednesday 4/29/09
WHERE: The Kitano
66 Park Avenue
New York, NY
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: NO COVER, $15 minimum
JOHN BENITEZ LATIN JAZZ GROUP
WHEN: Thursday 4/30/09
WHERE: La Fonda Boricua
East 106th Street
New York, NY
TIME: 9:00 p.m.
TICKETS: NO COVER
LATIN GIANTS OF JAZZ
WHEN: Saturday 5/2/09
WHERE: Hyatt Regency of Greenwich
1800 East Putnam Avenue
Old Greenwich, CT
TIME: 6:00 p.m.
WHEN: Sunday 5/3/09
WHERE: Dance Manhattan Studio
39 W. 19th Street
Manhattan, NY
TIME: 5:00 p.m.
TICKETS: $14
LAYLA ANGULO
WHEN: Sunday 5/3/09
WHERE: Jules Bistro
65 St. Marks
New York, NY
TIME: 8:00 p.m.
NEGRONI’S TRIO
WHEN: Friday 5/1/09
WHERE: Books & Books
265 Aragon Avenue
Coral Gables, FL
VENISSA SANTÍ
WHEN: Sunday 5/3/09
WHERE: Bistro St. Tropez
2400 Market Street
Market Place Design Center 4th Floor
Philadelphia, PA
TIME: 11:30 p.m.
WILLIE MARTINEZ
WHEN: Thursday 4/30/09
WHERE: Nuyorican Poet’s Cafe
236 East 3rd Street
New York, NY
TIME: 9:00 p.m.
TICKETS: $10
If you’re in the MID-EAST this week . . .
CRAIG RUSSO LATIN JAZZ PROJECT
WHEN: Thursday 4/30/09
WHERE: Zorba’s
627 E Green St
Champaign, IL
TIME: 9:30 p.m.
DAVID SANCHEZ
Guest Artist w/Black Hawk College Jazz Ensemble
WHEN: Thursday 4/30/09
WHERE: Black Hawk College
6600 34th Ave
Moline, IL
TIME: 7:30 p.m.
TICKETS: FREE
LOS GATOS
WHEN: Thursday 4/30/09
WHERE: The Firefly Club
637 S. Main
Ann Arbor, MI
TIME: 8:00 p.m.
TICKETS: $8
PONCHO SANCHEZ
WHEN: Friday 5/1/09
WHERE: New Orleans Jazz & Heritage Festival – WWOZ Jazz Tent
1751 Gentilly Boulevard
New Orleans, LA
TIME: 5:45 p.m.
TICKETS: $40
TUMBAO BRAVO
WHEN: Saturday 5/2/09
WHERE: Niki’s Pizza
735 Beaubien Street
Detroit, MI
TIME: 8:00 p.m.
WHEN: Sunday 5/3/09
WHERE: Sangria – Royal Oak
401 S. Lafayette
Royal Oak, MI
TIME: 9:00 p.m.
If you’re on the WEST COAST this week . . .
ANNA ESTRADA
WHEN: Tuesday 4/28/09
WHERE: Caffe Trieste
1667 Market
San Francisco, CA
TIME: 6:00 p.m.
ARTURO SANDOVAL
WHEN: Friday 5/1/09 – Sunday 5/3/09
WHERE: Yoshi’s – Oakland
Jack London Square
Oakland, CA
TIME: 8:00 p.m. & 10:00 p.m.; Sunday 2:00 p.m. & 7:00 p.m.
TICKETS: Friday & Saturday – $28; Sunday 2:00 p.m. – $5 kid & $18 adult; $24 general admission; Sunday 7:00 p.m. – $28
GRUPO FALSO BAIANO
WHEN: Sunday 5/3/09
WHERE: Sam’s Chowder House
4210 North Cabrillo Highway
Half Moon Bay, CA
TIME: 1:00 p.m.
TICKETS: NO COVER
WHEN: Sunday 5/3/09
WHERE: Anna’s Jazz Island
2120 Allston Way
Berkeley, CA
TIME: 8:00 p.m.
TICKETS: $14
JOHN SANTOS SEXTET
Voices Change Lives Banquet
WHEN: Saturday 5/2/09
WHERE: Oakland Åsian Cultural Center
388 9th St. # 290.
Oakland, CA
TIME: 6:30 p.m.
TICKETS: $45
JUAN ESCOVEDO
WHEN: Wednesday 4/29/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: $14
LOUIE CRUZ BELTRAN LATIN JAZZ ENSEMBLE
WHEN: Saturday 5/2/09
WHERE: Steamer’s
138 W. Commonwealth
Fullerton, CA
TIME: 8:30 p.m.
TICKETS: $8
MARK LEVINE & THE LATIN TINGE
WHEN: Monday 4/27/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m. & 10:00 p.m.
TICKETS: 8:00 p.m. – $16; 10:00 p.m. – $10
PONCHO SANCHEZ
WHEN: Tuesday 4/28/09
WHERE: The Mint
6010 West Pico Boulevard
Los Angeles, CA
TIME: 11:00 p.m.
TICKETS: $15 in advance; $20 at the door
WHEN: Sunday 5/3/09
WHERE: Steamer’s
138 W. Commonwealth
Fullerton, CA
TIME: 7:00 p.m. & 9:00 p.m.
TICKETS: $15
SCOTT MARTIN LATIN SOUL BAND
WHEN: Friday 5/1/09
WHERE: Vintage Steak House
26701-B Verdugo Street
San Juan Capistrano, CA
TIME: 8:30 p.m.
WHEN: Saturday 5/2/09
WHERE: Seabird Jazz Lounge
730 E. Broadway
Long Beach, CA
TIME: 9:00 p.m.
WHEN: Sunday 5/3/09
WHERE: The Redondo Pier
Torrance Boulevard
Redondo Beach, CA
TIME: 4:00 p.m.
TICKETS: FREE
TANAORA
CD Release Celebration – Dia Real!
WHEN: Monday 5/4/09
WHERE: Yoshi’s – Oakland
510 Embarcadero West
Jack London Square
Oakland, CA
TIME: 8:00 p.m.
TICKETS: $10
WAYNE WALLACE
WHEN: Thursday 4/30/09
WHERE: Kuumbwa Jazz Center
320-2 Cedar Street
Santa Cruz, CA
TIME: 7:00 p.m.
TICKETS: $12 in advance; $15 at door
———-
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Shenay Perry Wins USTA Movie Gallery Pro Classic
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Cupid’s Hunt: 2009
Translator
By N2H