Michel Petrucciani (French pronunciation: [miʃɛl petʁutʃani]; Italian: [petrutˈtʃaːni]; 28 December 1962 – 6 January 1999) was a French jazz pianist. From birth he had osteogenesis imperfecta, a genetic disease that causes brittle bones and, in his case, short stature. Despite his health condition and relatively short life, he became one of the most accomplished jazz pianists of his generation.

Lonnie Liston Smith Jr. (born December 28, 1940) is an American jazz, soul, and funk musician who played with such jazz artists as Pharoah Sanders and Miles Davis before forming Lonnie Liston Smith and the Cosmic Echoes, recording a number of albums widely regarded as classics in the fusion, smooth jazzand acid jazz genres. In 1963, he moved to New York City, where he initially played piano in Betty Carter‘s band for a year.^[1]Early in 1965, Smith began playing with Roland Kirk, first recording with his band on Here Comes The Whistleman (Atlantic, 1965), an album recorded live in New York on March 14, 1965. A further track from that gig, “Dream”, appeared on Roland Kirk and Al Hibbler‘s live album A Meeting of the Times (Atlantic, 1972).

Late in 1965, Smith joined Art Blakey‘s Jazz Messengers, sharing the piano position with Mike Nock and Keith Jarrett. The Jazz Messengers, together with Miles Davis’ group, were one of the main proving grounds for young up-and-coming jazz musicians, experimentally edgy and musically stretching, and both were an ever-revolving door of young modern jazz musicians as modes and moods rapidly changed during a fresh period of experimentation. Beginning with a live session at The Five Spot, New York City, November 9, 1965, Smith’s time as a Jazz Messenger was fairly short-term, only lasting until a three-gig engagement at The Village Vanguard 26–28 April 1966; by May 1966 his position was filled by Chick Corea. No recordings exist of this period.

Earl Kenneth Hines, also known as Earl “Fatha” Hines (December 28, 1903 – April 22, 1983 Duquesne, Pennsylvania), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one source, “one of a small number of pianists whose playing shaped the history of jazz”.

The trumpeter Dizzy Gillespie (a member of Hines’s big band, along with Charlie Parker) wrote,

The piano is the basis of modern harmony. This little guy came out of Chicago, Earl Hines. He changed the style of the piano. You can find the roots of Bud Powell, Herbie Hancock, all the guys who came after that. If it hadn’t been for Earl Hines blazing the path for the next generation to come, it’s no telling where or how they would be playing now. There were individual variations but the style of … the modern piano came from Earl Hines.

The pianist Lennie Tristano said, “Earl Hines is the only one of us capable of creating real jazz and real swing when playing all alone.” Horace Silver said, “He has a completely unique style. No one can get that sound, no other pianist.” Erroll Garner said, “When you talk about greatness, you talk about Art Tatum and Earl Hines.”

Count Basie said that Hines was “the greatest piano player in the world”.

Erev Shabbat Service and Chanukah Candle Lighting Friday December 27th 2024 550pm music with Inbal Sharett-Singer, Jayson Rodovsky, Jeff Bailey, Peter Whitman and mick laBriola.

Terry John Bozzio (born December 27, 1950 San Francisco) is an American drummer best known for his work with Missing Persons, U.K., and Frank Zappa. He has been featured on nine solo or collaborative albums, 26 albums with Zappa and seven albums with Missing Persons. Bozzio has been a prolific sideman, playing on numerous releases by other artists since the mid-1970s. He was inducted into the Modern Drummer Hall of Fame in 1997.

Thelonious Sphere Monk III (born December 27, 1949) is an American jazz drummer, composer and bandleader. He is the son of jazz pianist Thelonious Monk. By the 1990s, Monk was ready to begin his solo career, in which he has taken a decidedly more jazz-oriented direction. For two consecutive seasons, December 1996 and January 1998, on ABC, jazz returned to network television after a twenty-five-year absence. Sponsored by Nissan and the Thelonious Monk Institute, under the guidance of Monk, a historic assemblage of artists gathered for ‘A Celebration of America’s Music’ hosted by Bill Cosby and featuring Natalie Cole, Jon Secada, Tony Bennett, k.d. lang, as well as Thelonious performing his father’s signature tune, “‘Round Midnight“, with Herbie Hancock, Pat Metheny, and Nnenna Freelon.

William Orval Crow (born December 27, 1927) is an American jazz bassist. Among other work, Crow was the long-term bassist in saxophonist Gerry Mulligan‘s bands in the 1950s and 1960s.

Crow was born on December 27, 1927, in Othello, Washington, but spent his childhood in Kirkland, Washington. In fourth grade, he took up the trumpet and in the sixth grade he switched to baritone horn. He played drums in his high school swing band. He joined the Army in 1946, where he played the baritone horn in the 2nd Army Band and drums in a Service Club band. He remained in the army until 1949. After leaving the Army, he played drums and valve trombone while a student at the University of Washington.

In 1950, Crow moved to New York City, playing the valve trombone and drums. On a summer job in Tupper Lake NY at the Altamont Hotel he taught himself to play the string bass. Within two years of starting to play the bass, he played with Teddy Charles and was with Stan Getz from October 1952 to April of the following year. He joined the Claude Thornhill band for the summer of 1953, moved to the Terry Gibbs Quartet that fall, and in 1954 he moved to the Marian McPartland Trio at the Hickory House in NYC, with Joe Morello at the drums. He was the bassist with Gerry Mulligan‘s sextet and quartet during the mid to late 1950s and early 1960s. While with Mulligan, he studied the bass with Fred Zimmerman, of the New York Philharmonic. In 1956 he was with Jay and Kai (J.J. Johnson and Kai Winding) for several engagements including the Newport Jazz Festival. And in 1962 he joined the Benny Goodman band for a summer tour of the Soviet Union.

Compared to other toques, flamenco fandangos have a shorter rhythmic cycle that may feel more familiar to musicians trained in classical or other Western music styles. Fandangos are an early form of flamenco music, influenced from Arab-Moorish music and Portuguese fado music. Flamenco Fandangos are generally festive and upbeat.

Fandangos have a 3/4 rhythm (previously 6/8, now 3/4 or 3/8), with an accent on the first beat. Most Fandangos are very metric and appropriate for dance. A common compás that can be felt is made up of 12 beats (2×6). However, others may have more of a free-form feeling (known as en toque libre or “very freely”).

There’s also a variety of regional Fandangos, known as fandangos locales, each with their own style and character. There are many regional sub-styles that could fall into this categorization, but the most prominent include:

• Fandangos de Huelva
• Fandangos de Málaga
• Fandangos de Granada
• Fandangos de Almería
• Fandangos de Cadíz
• Fandangos de Córdoba