joy for JAZZ GRAMMY WINNERS 2023

joy for JAZZ GRAMMY winners

shared by Norman Warwick

Best Improvised Jazz Solo

Ambrose Akinmusire, “Rounds (Live)”

Gerald Albright, “Keep Holding On”

Melissa Aldana, “Falling”

Marcus Baylor, “Call of the Drum”

John Beasley, “Cherokee/Koko”

Wayne Shorter and Leo Genovese, “Endangered Species”

Wayne Shorter (left) is an American jazz saxophonist and composer. Shorter came to prominence in the late 1950s as a member of, and eventually primary composer for, Art Blakey’s Jazz Messengers. In the 1960s, he joined Miles Davis’s Second Great Quintet, and then co-founded the jazz fusion band Weather Report.

Best Jazz Vocal Album

The Baylor Project, The Evening: Live at APPARATUS

Carmen Lundy, Fade to Black

Cécile McLorin Salvant, Ghost Song

The Manhattan Transfer with the WDR Funkhausorchester, Fifty

Samara Joy,Linger Awhile

Samara Joy McLendon is an American jazz singer. She released her self-titled debut album in 2021 and was subsequently named Best New Artist by JazzTimes. Her paternal grandparents, Elder Goldwire and Ruth McLendon, sang in the famed soul gospel Philadelphia group, The Savettes. Joy’s father is Antonio McLendon, a singer and bassist who toured for years with another gospel star, Andraé Crouch.

Best Jazz Instrumental Album

Joshua Redman, Brad Mehldau, Christian McBride and Brian Blade, LongGone

Peter Erskine Trio, Live in Italy

Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton and Matthew Stevens, New Standards, Vol. 1

Congratulations to Terri Lyne Carrington (left), who won the GRAMMY Award for Best Instrumental Jazz Album for her ground-breaking project, new STANDARDS Vol. 1. The other project she released, Live At The Detroit Jazz Festival by Wayne Shorter, Terri Lyne Carrington, Leo Genovese and esperanza spalding, earned a win in the Best Improvised Jazz Solo category for Wayne Shorter & Leo Genovese’s recording of “Endangered Species.”

Carrington entered the GRAMMY Awards this weekend with four nominations for new STANDARDS Vol. 1 and Live At The Detroit Jazz Festival, released on Candid Records. Each album was nominated in both the Best Jazz Instrumental Album and Best Improvised Jazz Solo category. Carrington, who is the producer and a performer on both albums, is an NEA Jazz Master, virtuoso jazz drummer, composer, interdisciplinary artist, activist, educator, 7-time GRAMMY nominee, and now a 4-time winner. Earlier this week Carrington was also honored by the Recording Academy’s Producers and Engineers Wing at their annual event.

The Guardian has recently reported on Terri Lyne´s mission to correct jazz history.

Wayne Shorter, Terri Lyne Carrington, Leo Genovese and esperanza spalding, Live at the Detroit Jazz Festival

Yellowjackets, Parallel Motion

Best Large Jazz Ensemble Album

John Beasley, Magnus Lindgren and SWR Big Band, Bird Lives

Remy Le Boeuf’s Assembly of Shadows, Assembly of Shadows

Ron Carter and The Jazzkaar Festival Big Band directed by Christian Jacob, Remembering Bob Freedman

Steve Gadd, Eddie Gomez, Robbie Cuber and WDR Big Band conducted by Michael Abene, Center Stage

Steven Feifke, Bijon Watson and the Generation Gap Jazz Orchestra, Generation Gap Jazz Orchestra

´Regardless of any age discrepancy within its ranks, the GGJO is a truly remarkable ensemble, and its debut album (the hope is that many more will follow) is sharp and radiant from start to finish´

The Generation Gap Jazz Orchestra, co-led by pianist/composer Steven Feifke and trumpeter par excellence Bijon Watson, is a seventeen-member ensemble comprising seasoned players paired with young lions who are poised to capture pride of place. Nowhere do the leaders say who is in which group, and it would be impolitic to name them here. Suffice to say that some of the names may be more familiar than others—as, for example, trombonist John Fedchock who cut his teeth with one of Woody Herman‘s last Herds, leads a splendid big band of his own in New York City and has performed with a who’s who of jazz luminaries for more than forty years. said Jack Bowers in All About Jazz 2022.

Best Latin Jazz Album

Arturo O’Farrill & The Afro Latin Jazz Orchestra featuring The Conga Patria Son Jarocho Collective, Fandango at The Wall in New York

photo 5 Arturo O’Farrill is transcending musical borders.

On Monday, the Afro-Latin Jazz Orchestra founder and associate dean of diversity, equity and inclusion at the Herb Alpert School of Music will be joining the Conga Patria Son Jarocho Collective to perform music from “Fandango at the Wall in New York”at Schoenberg Hall following a documentary screening about recording a live record at the United States-Mexico border. Winning Best Latin Jazz Album at the 65th Annual Grammy Awards, the album is the fourth installment in an ongoing multimedia project that highlights son jarocho, a style of folk music that combines African, Indigenous and Spanish instrumentals.

O’Farrill and Rafi Malkiel, a trombonist in the Afro-Latin Jazz Orchestra, spoke with the Daily Bruin’s Sanjana Chadive about how their personal experiences shaped “Fandango at the Wall in New York” and the cultural impact of the music.

Daily Bruin: How did your previous music experiences and personal background influence the making of “Fandango at the Wall in New York?”

Arturo O’Farrill: I’m a classically trained Cuban, German and Irish jazz musician with a proclivity toward the avant-garde, so I don’t see any division. For me, music is a continuum. So when I program activities for the Afro-Latin Jazz Orchestra, it goes in any way (and) we go in any number of directions. It could beson jarocho music, as you see with this project. It could be reggaeton jazz. Music is an ongoing conversation with many people invited to the table. The whole point of life is to expand your horizons by embracing that which is unfamiliar to you.

DB: What was the overall energy of the performance?

Rafi Malkiel: The audience loved it. There’s a really nice quality to the sound of a son jarocho musician. It’s very authentic. It’s very real. It’s very pure and very beautiful. There’s the flavors and the power of the big band. The energy was so amazing. I remember jamming with these guys backstage the whole time with our guests.

DB: How do the sound and instrumentation align with the emotional themes of “Fandango at the Wall in New York”?

AO: There is this particular sparkle to seven, eight, nine, 10 guitars playing at the same time. It’s kind of emotional, and it is a very joyful thing. When you hear it, it’s quite astonishing. It sparkles with music and sparkles, and when you mix it with atraditional big band, brass and percussion from Cuba and Puerto Rico, it amplifies, and so all these things again come together to amplify cultural commingling. That to me just feels like life.

I can’t help but feel extraordinary happiness when I hear the sound of Africa in Europe and the New World and the Indigenous world and the Middle Eastern world all come together, and it’s very emotional for me. I get very emotional because I think these things are important to the future. The planet is increasingly becoming global and changing and dynamic, and we need to embrace it. We need to embrace the change that is coming to the world.

extrapolated from interview by The Daily Bruin.

In addition to bagging a GRAMMY for Best Jazz Vocal Album, rising star vocalist Samara Joy also won the coveted prize for Best New Artist. Elsewhere, Michael Bublé’s Higher won Best Traditional Pop Vocal Album and Robert Glasper’s Black Radio III won Best R&B Album. Snarky Puppy (right) , an ensemble we have featured before on these pages, reviewing a live concert they played here on Lanzarote also earned a GRAMMY, with Empire Central winning for Best Contemporary Instrumental Album.

In the arrangement categories, John Beasley was awarded for his arrangement of Charlie Parker’s signature tune “Scrapple from the Apple” and Vince Mendoza for his arrangement of Christine McVie’s “Songbird.” Taj Mahal and Ry Cooder’s Get On Board won for Best Traditional Blues Album, Geoffrey Keezer’s “Refuge” won for Best Instrumental Composition and Terence Blanchard’s Fire Shut Up in My Bones received the GRAMMY for Best Opera Recording.

So there is plenty of great work being produced on the jazz scene and if you want to find out how that work is impacting and reflecting inlive club performances you can check out the listings of agencies like Ribble Valley jazz And Blues and Music That´s Going Places and jazz In Reading, who all supply us with monthly listings which wed reproduce here on these pages as soon as wer receive them.

In fact Jazz In Reading occasionally drop us an extracurricular newsletter about particular gigs, and we received the following news from them yesterday.

Ben Cummins is one of the most versatile and sought after trumpeters on the British music scene, having played and recorded at the highest level in every genre – from New Orleans, vintage, swing and modern jazz, to funk, soul, pop and salsa. His rich, warm tone coupled with dazzling technical ability and harmonic awareness makes him one of the hottest players around.

A selection of those he has played and recorded with gives a good idea of this versatility; Caro Emerald, the Puppini Sisters, the Pasadena Roof Orchestra, the Humphrey Lyttelton Band, Kenny Ball and his Jazzmen, NYJO, Jacqui Dankworth, Jamie Cullum, Imelda May, Martha Reeves and the Vandellas, Jimmy James and the Vagabonds, Ali Campbell, Snowboy and the Latin Section, Roberto Plas and his Latin Jazz Ensemble, Bad Manners, Glenn Tilbrook, Gary Kemp and Pete Docherty, as well as numerous appearances on TV and radio.

Ben also runs the Ben Cummings Quintet, the Ben Cummings -Craig Milverton Quartet and is currently involved in projects that include Tower Of Power tribute band Kick Ass Brass, street-beat band the Brass Volcanoes and modern jazz quartet Jack Pescod’s Barcode.

Ben Cummings will be appearing at Pangbourne Working men´s Jazz Club on Sunday 5th March at 7.30 pm

With a reasonable entry fee of 12.50, a cheap bar, good raffle and easy parking and GREAT music, what´s not to like?

You can pay on the door or book on line, so its worht checking out more details.

Many reader of our Siodetracks And Detours daily blog will already be aware of the name of Steve Bewick, a presenter of a jazz mix-cloud weekly programme. He is also an occasional contributor to these pages as he and I used to co-present a weekly hour called áll across the arts´ on Crescent Radio in the UK. We have also interviewed Steve´s his wife Marlene, for this Lanzarote Information platform-

We were therefore really pleased to read a current news piece about the radio presenter in a weekly publication in all across the arts, edited by Steve Cooke for The Manchester Evening News Media Group in The Rochdale Observer, one of the group´s several local papers.

Mr. Cooke wrote, ´whether you are a jazz lover or don´t actually think jazz is for you, I thoroughly recommend a listen to Hot Biscuits, with local Rochdale-based broadcaster. Steve Bewick. Whether you are in the jazz camp or the classical camp you are bound to find music to lift your spirits.

Steve Bewick has a long history of broadcasting in the .local radio environment with Hospital Radio, Crescent Radio and for the last ten years or so with FC Radio. He labels his current broadcasts as ´a jazz programme spanning the latest great and famous in all things jazz´.

As this is an internet broadcast Steve´s shows go out around the world, often prompting new music to be sent from all sorts of places to his Rochdale studio-

He has, of course, also established good contacts on the Manchester jazz scene and receives recordings from local and visiting bands. This enables him to include live recordings twice a month.

Such broadcasts were spawned for the formation of non-league football club, F.C, Manchester, which emerged from protests to the take-over of Manchester United by the Glazer family, who are now seeking new investments or buyers. Fans of the new non-league team were keen on a media channel that gave radio and tv coverage of its matches.

Out of that came a series of specialist programmes, like Steve Bewick´s on jazz, by the fans for the fans.

This week´s Hot Biscuits presentation includes a live session from Phil Shotton Quartet featuring Phil’s outstanding tenor saxophone playing. Also included are tracks from Paul Booth – Summer of 44, Anita Wardell, Amy Bird Music, and closing with Arthur Lea‘s Bootleg Trio. If this looks interesting share with your friends and join Steve Bewick 24/07 at

Steve Bewick’s Shows | Mixcloud

ACKNOWLEDGEMENTS

The primary sources for this article were a newsletter from The Stoller Hall, the official web site of The Marmen Quarter and a peice written by Steve Cooke andpublished in The Rochdale observer.

Images employed have been taken from on line sites only where categorised as images free to use.

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.

Recommended titles of books about Music and Musicians in our weekly feature, You´re Gonna Need A Bigger Bookshelf can be found on line at Powell´s City Of Books at

https://www.powells.com/browse-book-genres/music

Today´s article was collated by Norman Warwick, (right) a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio 4.

As a published author and poet he was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (where he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.

From Monday to Friday, you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.

The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at normanwarwick55@gmail.com with a couple of appropriate photographs in a zip folder if you wish. Beiung a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself in your submission.

We look forward to hearing from you.

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those listed below who share information to reach as wide and diverse an audience as possible

correspondents Michael Higgins

Steve Bewick

Gary Heywood Everett

Alan Lalwless

Steve Cooke

Tony Brady

Peter Pearson

Seamus Kelly

Grahma Marshall

Researchers DCI Coward

Superintent Shepherd

Media sources Hot Biscuits Jazz Radio mix-cloud