ALL POSTS TAGGED "jack-dejohnette"

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As we stated here at Revive Music before, Manhattan wasn’t the only place in New York where jazz was cooking and innovating. Brooklyn has been keep reading »

Exclusively for our readers! Receive a 25% discount using code REVIVE (Click on link) for 2012 NEA Jazz Master Jack DeJohnette at Jazz at Lincoln Center’s keep reading »

Before there was this obsession with jazz and hip-hop, there was a different intersection of music happening on the streets on New York, LA, and other cities around the nation. 24 hours after Jimi Hendrix played his first notes at Woodstock, Miles Davis called his musicians — Lenny White included — into the studio for what would become the ‘Bitches Brew’ sessions and that would be the beginning of a sound and approach to music that White would come to define. The marriage of these rock and jazz aesthetics brought us groups like Return to Forever, Tony Williams’ Lifetime Band, and more. Read along as we delve into the roots of this style, White impact on the history, and where he sees the music going today.

If you get into a room with some of the most amazing drummers alive, who is the luckiest person in the place? I’d say the bass players for one and that is exactly where Michael Feinberg will find himself this weekend at the Generations of the BEAT Festival. Leading a project of his own origination in tribute to the late-great Elvin Jones is one feat, but Feinberg didn’t stop there. Bringing in one of the baddest drummers alive in Billy Hart has proved to bring the Elvin Jones Project to a whole new level. Read on below as we discuss the project and more!

Few drummers so strongly represent a time in music more so than New York City native Lenny White. Coming out of Jamaica, Queens by 18, the left-handed drummer was picked up by serial bandleader and educator Jackie McLean with whom he gained his initial chops. Within two years White had already got the call to record the formative Miles Davis album Bitches Brew — alongside fellow drummer Jack DeJohnette — a record that would go on to become a staple of the jazz canon and ultimately jumpstart White’s fusion of jazz and rock, a style that he would come to help define.

The second volume of one of the most exciting releases from the Miles Davis collection we’ve seen in the past few years drops January 29th, 2013. It features the “Third Great Quintet” of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette.

Esperanza Spalding drops Radio Music Society today featuring producer, Q-Tip and special guests Joe Lovano, Terri Lyne Carrington, Billy Hart, Jack DeJohnette, Lalah Hathaway, Algebra Blessett, and more. The groove-oriented album is rooted is rooted in jazz sensibilities, but made for the average music consumer. It is both relatable and intricate, paying homage to legends and unknowns alike.

Tanglewood, in the rolling hills of Lenox, Massachusetts has been a hotbed for sophisticated and legendary concert going for decades now. A live recording of a Miles Davis performance in 1970 has just been released for free streaming on Wolfgang’s Vault, according to Jazztimes, and also features Chick Corea, Dave Holland, Jack DeJohnette, Airto Moriera, Keith Jarrett, and Gary Bartz.

As the Miles Davis estate celebrates the 40th anniversary of the release of Miles Davis’ Bitches Brew, I had a conversation with drummer Lenny White and attempted to pick his brain about his experiences in making this album. As goes with many of the interviews I’ve done in the past, this lead to some interesting dialogue about some of the stories behind the album as well as White’s thoughts on music’s influence on culture, as seen in jazz during the Bitches Brew period, as well as hip-hop today.

It’s rare for an artist to constantly be at the forefront of their respective craft, but trumpeter Miles Davis always found a way to push the envelope. Between 1969 and 1970, Miles Davis single-handedly changed the face of jazz music with a series of highly electric and experimental albums. Beginning with 1969’s In a Silent Way, Davis began to incorporate a wealth of other influences into his music from the Sly and the Family Stone, to James Brown, Jimi Hendrix and even the Grateful Dead.