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Currently, Jovino leads his Seattle-based Quinteto and teaches piano and composition at Cornish College of the Arts. He can also be heard around the world as a piano soloist, working with symphony orchestras, jazz big bands, chamber music groups, and in collaboration with musicians such as his mentor Hermeto Pascoal, Bill Frisell, Paquito d’Rivera, Airto Moreira, Claudio Roditi, David Sanchez, Joe Locke, Marco Granados and many more.
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Stepping into the spotlight, the debut LP ‘Liner Notes’ from Matthew “Honeybee” Little, is a sonic journey through genre combining jazz. Matthew Little: Liner Notes LP by Matthew Little Matt’s debut album features the stand-out track “Hawks in Flight”, which starts.
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Our popular Choro workshop celebrates its 11th anniversary! This year’s workshop will be online due to COVID-19 restrictions.
Fender made the first solid-body electric guitar in 1948 and, a few years later, Gibson introduced their Les Paul. Many jazz guitarists in the 50s, as well as later, played hollow-body guitars; Tal Farlow was one such musician, and his fluid, single-note, bop-style guitar was a sensation. There was also Howard Roberts, Herb Ellis, Kenny Burrell and Barney Kessel, all of whom combined bop and single-note picking, with Burrell, in particular, merging blues with jazz. Jim Hall, who was classically trained, took jazz guitar in another direction, while others, like Pat Martino, helped refine the style.
In this presentation, I will show how musicians can use simple major and minor triads as a tool to extend the range of possibilities when improvising and creating variations on choro melodies. The same tool can also be used to create new harmonizations for the same pieces.
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Mostly remembered for writing ‘Walk, Don’t Run’, a jazz tune first brought to the attention of the public by Chet Atkins before being famously covered by surf rockers The Ventures in 1960, Smith hailed from Alabama and made a slew of albums under his own name between 1952 and 1968. A compilation album released in 1956, Moonlight In Vermont became the best-selling jazz album of that year. The tracks were recorded several years earlier and feature tenor saxophonist Stan Getz, though it’s Smith’s mellow yet supple guitar that shines the brightest.
Though he’s made over 70 albums in his long career, Midnight Blue is undoubtedly Detroit guitarist Kenny Burrell’s magnum opus. Stanley Turrentine impresses on gutsy tenor saxophone, but Burrell’s mellow, blues-infused guitar is the unequivocal star of the show. From the plaintive cry of ‘Soul Lament’ and the meaty, simmering funk of both ‘Wavy Gravy’ and ‘Chitlins Con Carne’ to the cool, groovy title cut, the album never disappoints.
Salvatore Massaro is better known as Eddie Lang (1902-1933), the abundantly-talented Philadelphia-born fretboard genius who played a pivotal role in helping the guitar come to prominence as a solo instrument. Like Charlie Christian after him, Lang died young but, in his short career, proved himself an innovator. This 1977 collection corrals disparate sides recorded in the late 20s and early 30s, all of which showcase Lang’s dexterous, flamboyant style.
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Originally from Auburn, Maine, Breau was raised on country music but became seduced by jazz as a teenager. He developed a unique finger-picking technique and often used an unorthodox seven-string guitar. This album features Breau playing unaccompanied acoustic guitar on mainly self-penned songs, but with a couple of standards and a McCoy Tyner piece thrown in. Defined by delicate filigrees of sound, it offers a stunning portrait of Breau’s singular artistry.
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Though he was indebted to the horn-like phrasing of 40s jazz guitar pioneer Charlie Christian, Wes Montgomery patented a distinctive style, picking notes with just his calloused right-hand thumb. As this, his third album, released in 1960 when he was 37, illustrates, his solos tended to be three-part constructions that began with single-note melodies before progressing to block chords and concluding with unison octaves. One of the best jazz guitar albums of the era, The Incredible Jazz Guitar Of Wes Montgomery lives up to its hyperbolic title.
When this compilation was released in 1962, gypsy guitar doyen Reinhardt had been dead nine years. It brought together some of the Belgian maestro’s influential late 30s sides with a quintet that featured French violin wizard Stéphane Grappelli. The music is propelled with an irresistible sense of swing and joie de vivre as the two central protagonists urge each other on to giddy heights of virtuosity. Though he’s mostly heard on acoustic guitar, ‘Swing 39’ finds Reinhardt playing electric. A great collection from a guitarist who established the blueprint for continental swing jazz.
This 1996 album brought together two Midwestern US jazz musicians – the Iowa-born veteran bassist Haden and the Missouri-born rising guitar deity Metheny – for a series of gentle, meditative soundscapes comprised of original material leavened with jazz, pop and movie-theme covers. The result is a sublime platform for Haden and Metheny’s unique talents, with the guitarist excelling via the deeply lyrical quality of his playing.
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Faculty recordings for you to play along with. You’ll receive recordings of three tunes recorded by the faculty, each in two versions. One will include all the faculty playing; the other will have your instrument removed so you can feel more like part of the group. We think you’ll really enjoy this.
A founder member of the long-running group Oregon, Towner played trumpet and piano to a high standard before adding the guitar to his musical armoury. His hallmark is the acoustic guitar – more specifically, the 12-string steel-string and six-string nylon-string varieties – which he alternates between during this stunning solo recital recorded in October 1979. As the opening cut, ‘Spirit Lake’, reveals, Towner constructs dense filigrees of dancing arpeggios which give his music a pronounced pastoral ambience.
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The best jazz guitar albums are up there with any other jazz classics that you can think of. But jazz guitar, for some inexplicable reason, seems to lack the attention that it deserves. It may stem from the fact that, back in the big band era, the guitar was seen as part of the rhythm section: an instrument that accompanied and filled out the sound rather than one that took centre-stage as a lead. It was Charlie Christian who, as a member of Benny Goodman’s band, helped change this perception with his electric-guitar playing. Christian’s ‘Solo Flight’, recorded with Goodman’s band in 1941, was a seminal moment for jazz guitar.
Szabo, originally from Hungary, served his apprenticeship in drummer Chico Hamilton’s pioneering West Coast band in the early 60s and was noted for blending the jazz lexicon with the indigenous gypsy sounds and styles of his homeland; contemporary rock and pop; and even elements drawn from Indian music (such as droning strings). Spellbinder lives up to its name, with Szabo displaying his genius on a judicious mixture of originals, jazz standards and pop covers.
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As the aptly-titled Dynamic Duo illustrated, Montgomery was well-paired with Hammond organ maestro Jimmy Smith. This 1966 outing was the first – and best – of two collaborations they recorded together (the second, The Further Adventures Of Jimmy And Wes, came out in 1969, a year after Montgomery’s death). Producer Creed Taylor placed them in brash big-band settings on several tracks arranged by Oliver Nelson, but it’s the more subdued numbers that grab the attention, such as the Jimmy Smith-penned ‘James And Wes’, on which the duo interact on a lightly-swinging, foot-tapping jazz groove.
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In 2021 he joined his brother, percussionist Alexandre Lora, and mandolin virtuoso, Dudu Maia, to form an ensemble dedicated to Brazilian traditional music, Trio Brasileiro (https://dybdoska.ru/hack/?patch=1052). Lora has performed as a soloist with the Dallas Symphony, Houston Symphony, Dayton Philharmonic, Orquesta Metropolitana of Sao Paolo, and the Orchestra of the Americas.
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Although storing your items in bank safe deposit boxes are safe, in the event that they’re somehow stolen, they may be less protected. Neither the bank nor the FDIC insure the contents of safety deposit boxes. Banks won’t reimburse you for damage or theft either. If you want to insure your items, you’ll need to get that coverage yourself via insurance.
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This presentation will focus on elements of sound and how they are used in playing and interpreting melodies. It’s not only what you play, it’s how you play it.
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Understanding the harmonic environment of any given piece based on just three basic chords (IV – I – V7). Tools to develop your harmonic perception. Voice leading through recurrent chord changes in Choro music.
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Il a commencé ses études de piano à l'âge de 15 ans. Il composa à 17 ans sa première œuvre pour piano et échapper Fantazia. Ses œuvres sont parmi les romantisme tardif et de l'impressionnisme.
The influence of South American rhythms on jazz in the early 60s helped to broaden the appeal of the genre. The Stan Getz and João Gilberto collaboration Getz/Gilberto, was a groundbreaking album, as was the earlier Jazz Samba, a Getz collaboration with Charlie Byrd. Along with Gilberto, Brazilian guitarists Antônio Carlos Jobim and Luiz Bonfá have all proved a lasting inspiration.
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Choro is a great way for both jazz and classically oriented musicians to meet on common ground. There are written charts with lovely and lively melodies accessible to any competent player. There’s also room for improvisation, and in a vein that’s a great way for classical musicians to expand their skills in this.
The follow-up to their earlier and incredibly successful 1979 collaboration, One On One, Detroit finger-picker Klugh and keyboard genie Bob James reunited on this 1982 album to serve up a similarly tasteful platter of proto-smooth jazz. An exponent of the nylon-stringed classical guitar, Klugh patented an easy-on-the-ear approach whose lucid melodic style was deceptively simple and skilfully concealed a very sophisticated aesthetic approach.
Though he began his recording career as an R&B singer at the age of 11, Benson focused his attention on guitar after that and, in the late 60s and early 70s, was regarded as the heir apparent to Wes Montgomery, who had died in 1968. Benson earned some success at jazz indie label CTI, but it was when he signed to Warner Bros in 1975, and started singing on his records as well as playing guitar, that his career truly exploded. This album’s title song is a stunning reminder of Benson’s fretboard prowess, while the album’s career-defining hit single, ‘This Masquerade’, showed him as a soulful vocalist.
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Released in 1957, this was the first in a series of four albums under the Poll Winners banner that the Oklahoma guitarist made together with fellow West Coast jazz luminaries, bassist Ray Brown and drummer Shelly Manne, in the 50s. Mainly a collection of standards, the album highlights Kessel’s combination of a mellow tone with fleet-fingered fretboard virtuosity, harmonic sophistication and an intuitive sense of swing.
From Chicago, James Vincent Dondelinger was a versatile guitarist and singer who cut this, his third solo album, in 1976, helmed by Doors producer Bruce Bothnick. A heady fusion of jazz, rock and searing funk, Space Traveler featured a stellar supporting cast which included members of Earth, Wind And Fire, Chicago singer Peter Cetera, drummer Harvey Mason, ex-Rufus keyboardist Ron Stockert and arranger Jack Nitzsche.
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In total, The West Wing won three Golden Globe Awards and 26 Emmy Awards, including the award for Outstanding Drama Series, which it won four consecutive times from 2000 through 2003. The show's ratings waned in later years following the departure of series creator Sorkin after the fourth season, yet it remained popular among high-income viewers, a key demographic for the show and its advertisers, with around 16 million viewers. In 2021 TV Guide ranked it #7 in its list of The 60 Greatest Dramas of All Time, while the Writers Guild of America ranked it #10 in its 101 Best Written TV Series List.
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Two years before he formed the fusion supergroup Mahavishnu Orchestra, and a few weeks prior to recording with Miles Davis, in January 1969 Doncaster-born McLaughlin – a stalwart of London’s studio scene – launched his solo career with this searing debut that helped light the touchpaper for the jazz-rock explosion. Taut, edgy and uncompromising, the album signposted McLaughlin’s journey to a higher musical realm.
Composer and guitarist Douglas Lora moves with versatility between classical and popular music, and has been established as one of the most prominent artists of his generation. A member of the Brasil Guitar Duo (with Joao Luiz) for more than fifteen years, and seven-string guitarist of the choro and samba band Caraivana, Douglas Lora has a full touring schedule worldwide, and has collaborated with artists including Paquito d’Rivera, Marco Pereira, Jovino Santos Neto, Ney Rosauro, Marina Piccinini, and many others.
Né au Brésil en 1970, Maia de Aguiar a commencé ses études de piano à l’âge de 15 ans. Il composa à 17 ans sa première œuvre pour piano et échapper Fantazia. Ses œuvres sont parmi les romantisme tardif et de l’impressionnisme. Comme la diversité de son travail, les promenades sur cordes, à vent, et que la musique de chambre et symphonique.
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Centrum’s International Choro Workshop is known for its remarkable faculty, all of whom will be back for our online version in 2021. You will join them for Special Topics sessions, instrumental master classes, and even a live-streamed concert. Plus you will receive three tunes recorded by them that you can play along with. This music is too much fun to let a virus get in the way.
Though he was born in southern Italy and started playing guitar as a child, it wasn’t until Forcione moved to London, in 1983, where he busked on the streets, that his talent was rewarded with a record deal. This 1998 album was the Italian guitarist/composer’s tenth and showcases his unique style, which melds Mediterranean influences with elements assimilated from African, Brazilian and Indian music. One critic described Forcione as “the Jimi Hendrix of the acoustic guitar”.
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Now regarded as a classic, this was Metheny’s 1976 debut for Manfred Eicher’s ECM label, which unleashed the guitarist on an unsuspecting world. A prodigious talent who developed a uniquely eclectic sound, Metheny is accompanied by bassist extraordinaire Jaco Pastorius (just before he joined fusion supergroup Weather Report) and drummer Bob Moses, who offer simpatico support throughout. A landmark record in the evolution of the genre, it more than earns its place among the best jazz guitar albums.