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Jazz at Lincoln Center Orchestra

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Last Updated: 29 October 2020

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Jazz at Lincoln Center Orchestra

Facebookjazzatlincolncenterorchestra
GenresJazz, swing
LabelsBlue Engine
OriginNew York City
Websitewww .jazz .org
Years active1988-present

The mission of Jazz At Lincoln Center is to entertain, enrich and expand the global community for Jazz through Performance, Education and advocacy. With worldrenowned Jazz At Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz At Lincoln Center produces thousands of performance, Education, and broadcast events each season in its home in New York City and around the world, for people of all ages. Jazz At Lincoln Center is lead by Chairman Robert J. Appel, Managing and Artistic Director WYNTON MARSALIS, and Executive Director Greg Scholl. Please visit US At Jazz. Org. Jazz At Lincoln Center Orchestra, comprising 15 of the finest Jazz soloists and Ensemble players today, has been Jazz At Lincoln Center resident Orchestra since 1988. Feature in All aspects Of Jazz At Lincoln Center's programming, this remarkably versatile Orchestra performs and leads educational events in New York, across the US and around the Globe; in concert halls; Dance venues; Jazz clubs; public parks; and with Symphony Orchestras; Ballet troupes; local students; and an everexpanding roster of guest artists. Under Music Director WYNTON MARSALIS, Jazz At Lincoln Center Orchestra performs vast repertoire, From rare historic compositions To Jazz At Lincoln Centercommissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus, and many others. Education is a major part of the Jazz At Lincoln Centers mission; its educational activities are coordinated with Concert and Jazz At Lincoln Center Orchestra tour programming. These programs, many of which feature Jazz At Lincoln Center Orchestra members, include the celebrated Jazz for Young People Family Concert series; Essentially Ellington High School Jazz Band Competition & Festival; Jazz for Young People Curriculum; educational residencies; workshops; and concerts for students and adults worldwide. Jazz At Lincoln Center educational Programs reach over 110 000 students, teachers and general audience members. Jazz At Lincoln Center, NPR Music and WBGO have partnered to create the next generation of Jazz programming on Public Radio: Jazz Night in America. The series showcases today's vital Jazz scene while also underscoring the genre ' storied history. Host by bassist Christian McBride, program features handpicked performances from across the country, woven with colorful stories of artists behind Them. Jazz Night in America and Jazz At Lincoln Centers Radio archive Can Be found At Jazz. Org / Radio. Under Music Director WYNTON MARSALIS, Jazz At Lincoln Center Orchestra spends over a third of the year on tour. The Big Band performs vast repertoire, From rare historic compositions To Jazz At Lincoln Centercommissioned works, including compositions and arrangements by Duke Ellington; Count Basie; Fletcher Henderson; Thelonious Monk; Mary Lou Williams; Billy Strayhorn; Dizzy Gillespie; Benny Goodman; Charles Mingus; Chick Corea; Oliver Nelson; and many others. Guest conductors include Benny Carter; John Lewis; Jimmy Heath; Chico o'farrill; Ray Santos; Paquito DRivera; Jon Faddis; Robert Sadin; David Berger; Gerald Wilson; and Loren Schoenberg.

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History

In 1988, an orchestra was formed as an outgrowth of its concert series, Classical Jazz, with David Berger conducting. When Wynton Marsalis became Artistic Director in 1991, he emphasized the history of Jazz, particularly Duke Ellington. The first album was Portraits by Ellington, and Seven Years later, Ellington Centennial was honored with the album Live in Swing City: Swingin' With Duke. Under the leadership of Marsalis, band performs at its home in Lincoln Center, tours throughout the US and abroad, visits schools, appears on television, and performs with symphony orchestras. The orchestra backed Wynton Marsalis on his album Blood on Fields, which won the Pulitzer Prize. Since 2015, Orchestra's albums have been issued on its own label, Blue Engine Records.

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Discography

Wayne Shorter, one of the most prominent saxophonists and musical figures of our time, hardly needs introduction. He is an 11-time Grammy Award winner, Lifetime Achievement Award recipient, and holds an extensive discography which includes over twenty albums as bandleader. For this special album, Shorter teams up with the Jazz at Lincoln Center Orchestra led by Wynton Marsalis to present music by Wayne Shorter. This release is product of Three nights in May of 2015, recorded live at Lincoln Centers Frederick P. Rise Hall. Shorters original compositions are feature, majority written early in their career from 1959-1966. This compositional period made a great impact on the contemporary Jazz world, and tunes featured from this era include Yes or No, Hammer Head, Contemplation, lose, Teru, and Mama G. Other tunes such as Diana, and Endanger Species and Three Marias, were compose during Shorters later fusion years. All of these tracks have been arranged into big band setting by various members of Jazz at Lincoln Center Orchestra to offer a new view into sensational music of Wayne Shorter. The two-disc album opens with Yes or No, one of Shorters most well-know tunes originally from the 1964 album Juju. Set by Victor Goines, this new version has a lush, slow opening with beautiful harmonies that feature Shorter on tenor saxophone. On this track, we also hear stunning solos from Wynton Marsalis on trumpet and Dan Nimmer on piano. The band then transition into Diana, arranged artfully to feature beautiful big band moments contrasting with smaller individual sections. Next is a swinging rendition of Hammer Head, followed by introspective Contemplation and Shorters famous endanger Species. The second disc opens with Shorters lose, featuring a colorful new arrangement of classic piece with melodic wind and brass lines. We reach deep swing on the next track, Armageddon, followed by Three Marias and Teru. The album concludes with a rousing version of Mama G that gives multiple members of the orchestra the chance to improvise. The Music of Wayne Shorter is masterfully arranged and orchestrated albums that feature Jazz at Lincoln Center Orchestra at their finest with living legend of our time. Shorters Music gets recognition it deserve, spun off in new ways that will continue to imagine and inspire.

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Wynton Marsalis

Wynton Marsalis is Managing and Artistic Director OF Jazz at Lincoln Center and is a world-renowned trumpeter and composer. Born in New Orleans, Louisiana in 1961, Marsalis began his classical training on trumpet at age 12, entered Juilliard School at age 17, and then joined Art Blakey and the Jazz Messengers. He made his recording debut as leader in 1982, and has since recorded more than 60 Jazz and classical recordings, which have won him nine GRAMMY Awards. In 1983, he became the first and only artist to win both classical and Jazz GRAMMYs in the same year and repeated this feat in 1984. Marsalis is also an internationally respected teacher and spokesman for MUSIC education, and has received honorary doctorates from dozens of US universities and colleges. He has written six books; his most recent are Squeak, Rumble, Whomp! Whomp! Whomp!, Illustrate by Paul Rogers and published by Candlewick Press in 2012, and Moving to Higher Ground: How Jazz Can Change Your Life with Geoffrey C. Ward, published by Random House in 2008. In 1997, Marsalis became the first Jazz artist to be Award prestigious Pulitzer Prize in MUSIC for his oratorio Blood on Fields, which was commission by Jazz at Lincoln Center. In 2001, he was appointed Messenger OF Peace by Mr. Kofi Annan, Secretary-General OF United Nations, and he has also been designated cultural ambassador to the United States OF America by the US State Department through their CultureConnect program. Marsalis was instrumental in the Higher Ground Hurricane Relief concert, produced by Jazz at Lincoln Center. The event raised more than $3 million for the Higher Ground Relief Fund to benefit musicians, MUSIC industry-related enterprises, and other individuals and entities from areas in Greater New Orleans who were impacted by Hurricane Katrina. Marsalis helped lead the effort to construct Jazz at Lincoln Centers home-Frederick P. Rise Hall-first education, performance, and broadcast facility devoted to Jazz, which opened in October 2004. Watch Wynton Marsalis and Jazz at Lincoln Center Orchestra perform Marsalis's composition OCHAS watch Wynton Marsalis and Jon Batiste perform MUSIC OF JOHN LEWIS:

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Claudia Schreier

Atlanta Ballet will open its 20 | 21 Season with a seminal classic-Yuri Possokhovs Firebird-perform to Igor Stravinskys ' striking score. Visually and musically arresting, Firebird is an explosive production not to be missed that can also be enjoyed by all ages. World premiere Ballet by newly named choreographer-in-Residence, Claudia Schreier, whose 2019 | 2020 Season world premiere for Atlanta Ballet, First Impulse, was named Standout Performance of 2019 by Pointe Magazine. Yuri Possokhov DANCE for 10 years with Bolshoi Ballet, performing leading roles in companys Classical and Contemporary repertoire. While performing, Possokhov studied Choreography and Ballet pedagogy at State College of Theatrical Arts, completing a five-year course in 1990. He was principal dancer with Royal Danish Ballet for two years before joining San Francisco Ballet as principal dancer in 1994. During his 12 years dancing with SFB, he began choreographing. Upon his retirement from Dancing in 2006, he joined the artistic staff at San Francisco Ballet as choreographer in Residence. He has created 14 Ballets for SFB and continues to choreograph new works for the Company each season. Possokhov choreographs ballets for companies worldwide. In 2015, his full-length for Bolshoi Ballet, Hero of Our Time, was met with critical acclaim, and the company invited him to stage a full-length ballet based on the life of Rudolf Nureyev that premiered in December 2017. For these two ballets, Possokhov received the prestigious Benois de la Danse Award, established by the International DANCE Union. Yuri Possokhov is a frequent guest choreographer with Atlanta Ballet. His Classical Symphony, Don Quixote and Firebird are also part of the Atlanta Ballets repertoire. You can learn more at yuripossokhov. Com. Claudia Schreier has choreograph for DANCE, Opera and film across the US and internationally. Her commissions include Vail DANCE FESTIVAL, ABT Studio Company, Joffrey Winning Works, and New York Choreographic Institute, and she recently made her Kennedy Center debut with DANCE Theatre of Harlem. Schreier served as choreographer for the Juilliard Operas Dido and Aeneas and as co-Artistic Director for productions London and Versailles tour. Hikers, her film and live Performance collaboration with visual artist Rashid Johnson, is currently on exhibition at Aspen Art Museum and Museo Tamayo in Mexico CITY. Claudia Schreier & Company make its Joyce THEATER debut in 2017 and is the subject of the documentary Sixth Position. Schreier has served as Artistic associate and rehearsal Director to Juilliard President Damian Woetzel on projects at the White House, Jazz at Lincoln Center with Wynton Marsalis, New York CITY Center, Aspen Institute, and Kennedy Center, including the 2017 Kennedy Center Honors. She is the recipient of the Princess Grace Award, Toulmin Fellowship at Center for Ballet and Arts at NYU, NEFA National DANCE PROJECT Award, Lotos Prize, and Suzanne Farrell DANCE Prize. Schreier was TEDx speaker at Columbia University in 2018. She received her BA from Harvard University.

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Asiya Korepanova

The only pianist currently performing Liszt's 24 Etudes as a single program and one of few to tout Concerto list that features over 60 works, Asiya Korepanova is a pianistic powerhouse and rapidly rising star. Result of her uncompromising dedication to the arts, Ms. Korepanova is recognized not only for her achievements as a pianist, but also for her work as a transcriber, composer, visual artist, and poet. Asiyas's contributions to solo Piano literature, including her historic solo Piano transcription of Richard Strauss's Ein Heldenleben and that of Rachmaninoff's Cello Sonatahave give her place among today's formidable transcribers. A number of her transcriptions have been recorded through her YouTube vlog Project, 'Midnight Pieces. ' launched in September, 2017, Asiya shares 53 performances of short works. Among these are well-know works, Russian compositions, obscure works, and original transcriptions. Uninhibited in her artistic expression, Asiya's communicative desires have culminated in several projects featuring original poetry and visual art that serve as interpretive commentary to particular cycle of works For Piano. These cycles include Liszts Transcendental Etudes, Bachs Well-temper Clavier and Tchaikovskys 18 Morceaux, Op. 72. Asiya's live performances of these compositions have astound audiences and organizers alike. In 2017, Asiya founded Festival Baltimore, a two-week chamber Music Series and summer academy dedicated to performance and study of complete cycles. Rapidly growing in reputation, Festival has already solidified its reputation as a highly original musical series and academy. Furthering this effort, Ms. Korepanova founded 'Music For Minds, ' a non-profit organization that serves to promote classical performances in classrooms as well as to found and support Music Festivals featuring unique programming. Asiya was born in Izhevsk, Russia, to a musical family. She began to learn Piano when she was 4 years old from her mother, her first piano teacher. She was taught to read music in orchestral clefs by her father, exemplary composer, at the age of 6, and started composing her own music. At 9, she makes her orchestral debut, playing Mozart's Concerto No. 8 with her own cadenza, and perform her first Philharmonic recital. Her love for new music has come effortlessly as result of her early bond with composition. She was invited to premiere 3 Piano concertos by Vladislav Kazenin and Shamil Timerbulatov, with Svetlanov Symphony Orchestra, Saint Petersburg Capella Symphony Orchestra, Ural Philharmonic Orchestra and Tatarstan National Symphony Orchestra. Throughout her formative years in Russia, Ms. Korepanova received various awards for her prodigious abilities. These include the Russian Federations President Award For Exceptional Achievement in Arts. National Award from Republic of Udmurtia, Germany, Berliner Salon Award, and Russian Youth Triumph Award, title of 'Honored Artist of Udmurtia', and earn her right as Moscow Philharmonic Society's Artist. In 2012, Asiya moved to the United States at the invitation of renowned pianist, Santiago Rodriguez.

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Simone Dinnerstein

Simone Dinnerstein lead New Century Chamber Orchestra in an immaculate performance of Keyboard Concertos on Saturday Night. Dinnerstein shone in the all-Bach program in her first series of concerts as Chamber orchestra artist-in-residence. The pianist initially gained prominence upon the success of her self-finance recording of J. S. Bachs Goldberg Variations in 2007. She has since released four further albums that feature music by Bach either prominently or exclusively, so it is safe to say that she was in her element last night. Saturdays Concert at Herbst Theatre was one of Series this past Week Around Bay Area, and included Bach Keyboard Concertos in E Major, BWV 1053, F Minor, BWV 1056, and D Minor, BWV 1052. Distinguish flutist Christina Jennings and New Century concertmaster Robin Mayforth join Dinnerstein as soloists for the finale, Brandenburg Concerto No. 5 in D Major, BWV 1050. The immense program serves as testament to Dinnersteins renown and precision as Bach interpreter, and the New Century Chamber Orchestra provides commendable support. As Dinnerstein mentioned before the second half, each concerto develops upon different sounds, colors, and intentions. Give that Concerto was a relatively modern invention in Bach's Time, his musical ideas allowed plenty of flexibility within form. Concertos, as such, are markedly different. The first movement of the E Major Concerto begins with the orchestra and piano as part of the team, without much prominence given to the role of soloist. Later, reverse approach was applied in Brandenburg, which featured an unexpected extended cadenza for pianist. This compositional decision was unprecedented and revolutionary in the Baroque era, as keyboardor harpsichord, in Brandenburgs casehad, previously been relegate to accompaniment. Featuring the virtuosic keyboard part as soloist in conversation alongside flute and violin marks the beginning of a massive shift in how the instrument would be treated by future composers. The emotional heart of the program lay inevitably in gentle, slow sections. Following the first Concerto, Dinnerstein begin playing Ich ruf zu dir, Herr Jesu Christ, BWV 639, solo Organ Chorale transcribed for Piano by Ferruccio Busoni in the early 20 Century. Her performance of the Chorale, and of slow Concerto movements in general, was powerful and enveloped listener in its purity. She continues without break into F-Minor Concerto, sagacious decision that treat aforementioned as thoughtful prelude. The second movement of D-Minor Concerto comes across as sensitive and luscious, yet communicating tension write into music. Bach drew drew material for this movement from his Cantata 146, Wir mussen durch viel Trubsal in das Reich Gottes eingehen. Although the Concerto is performed without text, meaning endures, and reminds the listener of a higher power for which Bach composes every single note. Throughout intricate fugal fragmentations, soaring melodies, and endlessly elaborate developments, musicians play superbly. The Ornamentation was clean, and tutti Orchestra sections were powerful.

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The Knights

Knights are a collective of adventurous musicians dedicated to transforming orchestral experience and eliminating barriers between audiences and music. Drive by an open-mind spirit of camaraderie and exploration, they inspire listeners with vibrant programs that encompass their roots in Classical tradition and passion for artistic discovery. The orchestra has toured and recorded with renowned soloists including Yo-Yo Ma, Dawn Upshaw, Bela Fleck, and Gil Shaham, and has performed at Carnegie Hall, Tanglewood, and Vienna Musikverein. Knights evolve from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. The Jacobsen brothers, who are also founding members of string quartet Brooklyn Rider, serve as artistic directors of Knights, with Eric Jacobsen as conductor. Knights are committed to creating unusual and adventurous partnerships across disciplines; they perform in traditional concert halls as well as parks, plazas, and bars, all in an effort to reach listeners of all backgrounds and invite them into their music-making. Since incorporating in 2007, Orchestra has toured consistently across the United States and Europe. Count among highlights from recent seasons are: performance with Yo-Yo Ma at Caramoor; recording of Prokofievs Second Violin Concerto on master violinist Gil Shahams Grammy-nominated 2016 release, 1930s Violin Concertos, Vol. 2, as well as North American tour with Shaham; residencies at Dartmouth, Penn State and Washington DCs Dumbarton Oaks; and performance at NY PHIL BIENNIAL along with San Francisco Girls Chorus and Brooklyn Youth Chorus, which feature world premieres by Rome Prize-winner Bielawa, Pulitzer Prize-winner Aaron Jay Kernis, and Knights violinist and co-founder Colin Jacobsen. Ensemble made its Carnegie Hall debut in the New York premiere of Steven Stucky / Jeremy Denk opera Classical Style, and has toured the US with banjo virtuoso Bela Fleck and Europe with soprano Dawn Upshaw. In recent years, Knights have also collaborated with Itzhak Perlman, Mark Morris Dance Group, Joshua Redman, Silk Road virtuoso Siamak Aghaei, and pipa virtuoso Wu Man. Recordings include 2015s instinctive and appealing ground beneath our feet on Warner Classics, featuring ensembles first original Group composition; all-Beethoven disc on Sony Classical; and 2012s smartly program Second of Silence for Ancalagon. Knights are proud to be known as one of Brooklyns sterling cultural productsknown far beyond borough for their relaxed virtuosity and expansive repertory. Their roster boasts musicians of remarkably diverse talents, including composers, arrangers, singer-songwriters, and improvisers, who bring a range of cultural influences to the group, from Jazz and klezmer to pop and indie rock music. Unique camaraderie within the group retains the intimacy and spontaneity of chamber music in performance. Through palatable joy and friendship in their music-making, each musician strives to include new and familiar audiences to experience this important art form.

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Colin & Eric Jacobsen

Jazz at Lincoln Center Orchestra with Chick Corea Chick Corea / Piano, Ryan Kisor / Trumpet, Kenny Rampton / Trumpet, Marcus Printup / Trumpet, Vincent Gardner / Trombone, Chris Crenshaw / Trombone, Elliot Mason / Trombone, Sherman Irby / Alto and Soprano Saxophones, Flute, Clarinet, Ted Nash / Alto and Soprano Saxophones, Flute, Clarinet Victor Goines / Tenor and Soprano Saxophones, Clarinet, Bass Clarinet Walter Blanding / Tenor and Soprano Saxophones, Clarinet Paul Nedzela / Baritone and Soprano Saxophones, Bass Clarinet Dan Nimmer / Piano Carlos Henriquez / Bass Marion Felder / Drums Saturday Evening, March 31 2018 at 8: 00 Hill Auditorium, Ann Arbor 82 Performance of 139 Annual Season 24 Annual Jazz Series this eveningOs Performance is support by Michigan Medicine, Comerica Bank, Conlin Travel, and Stout Systems. Special support FOR this eveningOs Performance is ALSO provided by friends and family of Rick Hammond, who was a long-time UMS Jazz enthusiast. They have dedicated this eveningOs's performance to his memory. Fund in part by the JazzNet Endowment Fund. Media partnership provided by Ann ArborOs 107one, WDET 101. 9 FM, WRCJ 90. 9 FM, and WEMU 89. 1 FM. Steinway Piano in this eveningOs's Concert is made possible by William and Mary Palmer. Jazz at Lincoln Center Orchestra and Chick Corea appear by arrangement with Kurland Agency. Brooks Brothers is the official clothier of Jazz at Lincoln Center Orchestra. In consideration of ARTISTS and audience, please refrain from use of electronic devices during Performance. Photography, sound recording, or videotaping of this performance is prohibit. PROGRAM Music of Chick Corea this eveningOs Concert will be announced by ARTISTS From stage and be performed without intermission. ARTISTS Jazz at Lincoln Center Orchestra with Wynton Marsalis comprises 15 of the finest Jazz soloists and Ensemble players today. Lead by Wynton Marsalis, Jazz at Lincoln Center Managing and Artistic Director, this remarkably versatile Orchestra performs vast repertoire ranging from original compositions and Jazz at Lincoln Center-commission works to rare historic compositions and masterworks by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus, and many others. JLCO has been Jazz at Lincoln Center resident Orchestra since 1988, performing and leading educational events in New York, across the US, and around the Globe. Alongside Symphony Orchestras, ballet troupes, local students, and an ever-expanding roster of guest ARTISTS, JLCO has toured over 300 cities across six continents. Guest conductors included Benny Carter, John Lewis, Jimmy Heath, Chico OOFarrill, Ray Santos, Paquito DORivera, Jon Faddis, Robert Sadin, David Berger, Gerald Wilson, and Loren Schoenberg. JLCO was voted OBest Big BandO in the Annual DownBeat ReadersO Poll for four years in row. In 2015, Jazz at Lincoln Center announced the launch of Blue Engine Records, new platform to make its archive of recorded concerts available to Jazz audiences everywhere.

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Aaron Diehl

33-Year-old classically trained pianist and composer, Aaron Diehl has made an indelible mark on the Jazz world over the last 15 years. Showing affinity for early Jazz and mid-20 century third-stream music, his latest evolution came as he began to tackle Modern classical works, performing works by George Gershwin with the New York Philharmonic, Cleveland Orchestra, Minnesota Orchestra and LA Philharmonic. Diehl has collaborated with living masters ranging from from NEA Jazz Master Benny Golson to 20th century classical titan Philip Glass, while establishing himself as one of the preeminent interpreters of Great American Songbook in his own trio and with vocalist Cecile McLorin Salvant. Critics from New York Times Jazz critics have have extol Mr. Diehls melodic precision, harmonic erudition, and elegant restraint, while the same newspaper classical critics have note, Mr. Diehl plays magnificently. His meticulously conceived performances, collaborations, and compositions are refreshing as his highly personal aesthetic spearheads the union of tradition and original artistry, while bounding ahead on an uncharted course. Born in 1985 in Columbus, Ohio to a funeral director and former Olympian turn education administrator, Aaron Diehl grew up in a nurturing musical environment. His grandfather, Arthur Baskerville, pianist and trombonist, was an early influence. He began studying classical Piano at age 7, while his passion for Jazz was further fuelled while attending Interlochen Arts Camp as a pre-teen, where he met pianist Eldar, who exposed him to Oscar Peterson and Art Tatum recordings. At age 17, Diehl was a finalist in the Jazz at Lincoln Centers Essentially Ellington competition, where he was noticed by Wynton Marsalis. Soon after, Diehl was invited to tour Europe with Wynton Marsalis Septet that Fall he would matriculate to Juilliard School, studying with Jazz Pianists Kenny Barron and Eric Reed and classical pianist Oxana Yablonskaya. Diehl came to wider recognition in 2011 as winner of the American Pianists Associations Cole Porter Fellowship, which includes $50 000 in career development and recording contract with esteemed Mack Avenue Records. Shortly before Salvant released her highly acclaimed WomanChild, which features Diehl and his trio, pianist released his Mack Avenue debut, bespeak Mans Narrative, tribute to the sophisticated classicism of Modern Jazz Quartet; particularly pianist John Lewis. At Time, New York Daily News write, Diehl, rising star of Jazz Piano, has individual talent so great that one day he may extend Jazz tradition, Financial Times comment, as sharp, opulent and stylish as the title might suggest. S fluency is remarkable and his light-but-sensuous touch oozes class without breaking boundaries. Upon the release of his 2015 Mack Avenue Album, Space, Time, Continuum featuring special guests Golson and Joe Temperley, in some ways reaction to classicism of Bespoke, New York Times reframed its prior appraisal. Mr. Diehl, who once might have suggested emissary from another Time himself, has brilliantly advanced his art under current conditions. Irish Times note, his second studio albumhints at new horizons.

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Sources

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