--------------- Matthew Garrison is an American jazz bassist. Matthew Garrison was born June 2, 1970 in New York. Here he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father Jimmy Garrison (John Coltrane’s bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar. In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years. Here he studied intensively with both Dejohnette and bassist Dave Holland. In 1998 Matthew founded GarrisonJazz Productions through which he currently Produces, Promotes and Markets his music. The latest projects are “SHAPESHIFTER” and “MATT GARRISON LIVE”. Three new projects are slated for a 2008 release. --------------- Matt Garrison “This release represents a modern-day passing of the torch. Compelling that Garrison's father played acoustic bass on what are indisputably jazz's greatest recordings - now comes Matthew demonstrating nothing less than he's the world's greatest electric bass guitarist” --------------- MATT GARRISON: NO LIMITS, NO FEAR Source: http://pritchardschool.com/jazzrock/interviews-matt.html --------------- Matt Garrison Interview Source: http://pritchardschool.com/jazzrock/interviews-matt.html --------------- Matthew Garrison Signature Matthew Garrison was born June 2, 1970 in New York. Here he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father Jimmy Garrison (John Coltrane’s bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar. --------------- Discography Pat Metheny – Stone Free (1993
Matt's Bio
Matthew Garrison was born June 2, 1970 in New York. Here he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father Jimmy Garrison (John Coltrane's bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar. In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years. Here he studied intensively with both Dejohnette and bassist Dave Holland. In 1989 Matthew received a full scholarship to attend Berklee College of Music in Boston. Here he began his professional career with the likes of Gary Burton, Bob Moses, Betty Carter, Mike Gibbs and Lyle Mays to mention a few. Matthew moved to Brooklyn, New York in 1994 and has performed and recorded with artists such as Herbie Hancock, Joe Zawinul, Joni Mitchell, Steve Coleman, Pat Metheny, John Mclaughlin, The Gil Evans Orchestra, John Scofield, Chaka Khan and many others.
Garrison has worked with artists such as Herbie Hancock, John McLaughlin, Chaka Khan, Joe Zawinul, the Saturday Night Live Band, John Scofield, Paul Simon and Joni Mitchell. He is the son of Jimmy Garrison, John Coltrane's bass player, and he is noted for playing his signature series Fodera bass.
Garrison also recognized for having created and developed a pizzicato technique which uses four fingers. He founded his own recording label and production company in 2000 called GarrisonJazz Productions, through which he has released two CDs and a live performance DVD.
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Shapeshifter
GarrisonJazz Productions
2004
In Y2K, Bass Player Magazine pronounced Matthew Garrison's debut as having "raised the bar" for electric bass players (in an article by Chris Jisi, who recently wrote the book on modern electric bass). What next, then? Fitting in this Olympic year, Garrison steps back from the bar, raises it a foot, challenges himself to make it over and succeeds on every level, turning in the greatest solo record by an electric bassist in the post-Jaco era.
Not merely a great electric bass player, he actually plays the instrument at the margins of human capability. Having captured the imaginations of the world's electric bass players and enthusiasts, he's set his sights on the ears and minds of the global audience for adventurous music. Importantly, he does so without taking virtuoso technique and mind-boggling facility off the table. Compositionally, he's retained the far eastern Indian flavor of his debut, while adding a brave new dose of electronica to the mix. There's a new emphasis on consistently changing up the tone and texture of the bass, in both ensemble and solo functions. The numbers of supporting cast and their roles have been narrowed, with Garrison taking on more of the burden of soundscape creation via computer-aided studio expertise. Finally, he's perfected the art of creating hook-laden melodic snippets, and placing them in various spots in the mix relative to countermelodies, counter-rhythms and counter-bass lines, none of which function counter to any other components.
For example, "Symbiosis," opens the set with a melodic fragment of eastern origin, sung by Sabina Sciubba , meeting percussively strummed acoustic guitar (also by Garrison), before being supplanted by slamming, power-chord style, distorted bass, in an ascending four-part progression of three notes each. A melody line reemerges, this time sung by the bass, chiming, sitar-like, with notes in the high register. A deep bass synth break recontextualizes the opening, vocal melody, as new synth pads offset the complementary descending bass line. Unison guitar and bass then voice a different, equally hummable melodic fragment over a loping folk-fretless line. This sets up a distorted, backward-looped bass solo, gorgeously steeped in expressive psychedelia. As the backward effect is removed, Garrison's trademarked shards, pieces of chords drawn from the scale-of-the-moment's harmony, replace it, followed by effortless linear melodicism, building to a phenomenal ripping sequence of his own device, recalling Jimi more than Jaco.
"Three Tree" is a duet with Arto Tuncboyacian on percussion. Any bassist who throws down this fluidly and virtuosically in the company of a sole percussionist is bound to get comparison to "Donna Lee," Jaco's celebrated throwing of the gauntlet with Don Alias. This one's a bossa improv of epic proportion. It's all there, the gorgeous chord voicings, the harmonic outline, the flat-out speed and impossible articulation of the right hand, the matching up of the left with the complete knowledge and instantaneous availability of the jazz vocabulary. But this is not an instrumentalist playing some famous standard at a breakneck pace. It's a relaxed performance, a spontaneous improvisation that right away imparts the feeling that Garrison could toss off any number of takes on this vibe, each of them as great as the last, yet different - what jazz, and virtuosity, are all about.
"Life Burning" combines the love for all things Indian with all things Squarepusher-drill'n'bass meets drilling bass for some Punjabi takeout. Note the Indian Massive-that's the real , Indian, massive bass sound punctuated by some kind of Hindu chanting - or is that cheerleading? Slamming it all against a very straight snare and hi-hat beat somehow propels it to the energy quotient to the next level, as do the wordless vocals by Tuncboyacian. The electronica sequence returns before another monster solo blows it all up, crossing up "Flight of the Bumblebee" pyrotechnics with ragaisms aided by pull-offs and trills, stopping for a hit of funky blues. The linear excursions that follow are decidedly not of the bop vocabulary; rare is the player on any instrument that draws lines so clearly from harmonic point to point that sit so well on their axe of choice.
"I Can See You Now" slams enormous rock riffing up against Gnawan trance, with ankle-bracelet bells evoking Krishnas brandishing Strats. Big air moves under fretless skies, propelled forward by a Pastourian pump never executed so cleanly. Then screams, samples of massive human call 
and response added by Scott Kinsey , accelerate us into his scintillating Rhodes solo, which somehow injects a dose of funk into this electro-world groove. Note that Kinsey, perhaps in compensation for his inhuman chops quotient, has now established himself as an innovator for incorporating the human element, in the form of sampled vocals—pitched, unpitched, sung, spoken or screamed—into his custom-programmed sonic voice.
"Mirror Image" and "Changing Paths," both completely performed by Garrison, have a more epic, world flavor. The "Mirror" reflects West Africa or Algiers perhaps, a crossover incorporating incantations on high, with Matt on vocals. Like many cutting-edge instrumentalists, Garrison reveals he's a surprisingly gifted vocalist as well. No solos here, just pure melody and atmospherics combined in heartrending ways. "Changing Paths" shows the influence of Sting or Peter Gabriel in terms of mystically elegant soundscape, a somber frame drum march setting up haunting harmony, this one features his eerie, highly proficient steel-string guitar to supplement his tear-drenched bass sweep, supplemented by a distant scat vocal. More experiments in this direction, please.
"Exchange" builds fiercely in electronic fashion but soon adds beauty in the form of Icelandic vocalizing by Veronika Garrison over two-note chords voicing the melody on bass. A passage then ensues full of wondrous digitized glossolalia, a combination of backward bass triggering Veronika's sampled vocal, creating the effect of a sci-fi enchantress enticing explorers toward her embrace, abetted by some kind of otherworldly sound-producing device. As Kinsey enters the fray the song delves into the realm of Josef Zawinul, employing the familiar accordion and harmonica-like sounds, an ethnic, folk-like wordless vocal and a bouncy, rubbery bass line. Kinsey has seriously studied Zawinul's improvisational and compositional styles, as well as the finer elements of his sound architecture, and Garrison is a former employee, so this section is all you can imagine. The bass solo begins gently, drenched in linear lyricism, with a touch of distortion, interrupted by electronic stutters and stops. A simple backbeat is employed to support complexity as the digital stuttering effect continues, punctuating and puncturing the solo, a multitude of ideas and techniques colliding to create an ultra-modern, yet very musical spot. This type of diginoise effect is usually applied to breakbeats or other sections in the work of noted digital auteurs, but this sets the precedent for seamless incorporation into an instrumental solo, which helps makes "Exchange" another compositional and soloing tour-de-force.
"Turn Around," concludes with layer upon layer: Garrison's bass, Jim Beard 's synth, and Adam Rogers ' banjo and cavaquino, until a melody line is doubled on top by the vocals of Matt's singer-sister Joy and the harmonica of Gregoire Maret. Two minutes in, this shimmering cloud rains a liquid bass solo, a "rewind moment " that in 45 seconds, simply transcends the work of the generation of bassists that made Garrison possible-not only in the harmonic sense, standing as a mini-composition, but in that it exudes electrifying emotion, molten with the passion and joy radiating from its architect. Rogers, with clean electric tone and Beard, employing synth-sustained squeezebox, follow with equally prodigiously executed spots bursting with poignant content-rare does this muscular an instrumental display, by all the players, convey such ecstatic exhilaration.
This release represents a modern-day passing of the torch. Compelling that Garrison's father played acoustic bass on what are indisputably jazz's greatest recordings - now comes Matthew demonstrating nothing less than he's the world's greatest electric bass guitarist (reality check: if there are other guys capable of playing this stuff so absolutely freakishly, none are demonstrating it on recordings). The funny thing is, this is way not the intent here.
Sure, Garrison's debut, in spots, was attempting to show all he could do, but now it's all about the composition, the composite, the trip and the vibe. The fact that he's taken the record label out of the equation has surely aided him in feeling his way into his style in the most comfortable, organic way. Simply put, letting go has allowed him to craft one for the ages. It's a benchmark for the type of electronica that is separate from trend-jumping jazztronica hybrids and for music incorporating world influences that is separate from the "world music" bin. Most importantly, it should be held up as a shining example for the type of electric jazz-fusion of musics and styles that is separate from the technocratic, chops-driven excesses and exercises of "fusion" 's past. 
Recently, vocal jazz has been perceived to have returned to favor with artists like Norah and Jamie, the piano trio reworked by the Bad Plus and EST and the avant-garde invigorated by the talent stable locked in the Blue Series' electronica laboratory. But in terms of marketability, resonance and relevance, electric jazz remains at a crisis point—in need of a shot in the arm—a reinvention triggering a comeback of sorts. With a release of this magnitude, it's alluring to poetically posit that Garrison, a scion of jazz's fabled past, yet an outsider in the current state of the jazz business, should be the one fated to spearhead that transformation.
An up-to-the-moment interview can be found here .
Tracks: 1) Symbiosis, 2) Unity, 3) I Told Ya So, 4) Three Tree, 5) I Can See You Now, 6) ZZAJ 5.1, 7) Life Burning, 8) Mirror Image, 9) Exchange, 10) Changing Paths, 11)Turn Around
Personnel: Sabina Sciubba:vocals (1,2,3), Gregoire Maret:harmonica (1,2,11), Arto Tuncboyacian:percussion (1,2,4,7, 9), vocals (7), Jim Beard: keyboards (1,2,11), Jojo Mayer: drums (2,7), Elliot Mason: bass trumpet (5), Scott Kinsey: keyboards (5,9), Will Calhoun: Wusuli (5), Veronika Garrison: vocals (7,9), noise (5), Joy Garrison: vocals (11), Adam Rogers, guitar (11), Warren Brown:mixing, mastering, sound design (all), John Arnold: drums (11), Matthew Garrison: bass (all), programming (1-3, 5-11), guitar (1,3,10), keyboards (2,3,7,9,11), vocals (5,9,10,11)
By John Pritchard
I first heard Matt Garrison's amazing bass playing on Joe Zawinul's "My People" in 1996 and John McLaughlin's "The Heart of Things" in 1997. Tracing back Matt's roots to his legendary dad, the late Jimmy Garrison (bassist with John Coltrane), it is cool to see a son not only carrying the jazz bass torch of his father, but also blazing new musical trails with incredible five string chordal bass music of his own!!! Check out the video clips on the left to see what I mean.
In 1998 Matt took the bull by the horns and founded GarrisonJazz Productionsto record, produce and market his music. In 2001, his self titled solo debut CD "Matthew Garrison" received critical acclaim immediately and featured guitarists David Gilmore and Adam Rogers, keyboardist Scott Kinsey, drummers Gene Lake and Ben Perowsky, percussionist Arto Tuncboyacian, saxaphonist Dave Binney, along with Pete Rende on accordion and Amit Chaterjeeon on sitar. Many of the tracks are featured on Matt's Live DVD with much of the same lineup with additional talent such as Jim Beard on keyboards, JoJo Mayer on drums, and singer Sabina Sciubba.
In 2002, Matt toured with Herbie Hancock on the "Future 2 Future" tour and can be seen jammin on the "Future 2 Future" DVD Herbie produced from a gig at the Knitting Factory in LA.
In March of 2003, Matt began his most adventurous album, "Shapeshifter," which was released simultaneously with his Live DVD this past August 2004. The album features guitarist Adam Rogers, keyboardists Jim Beard and Scott Kinsey, vocalists Sabina Sciubba, Joy Garrison and Veronika Garrison, drummer JoJo Mayer, percussionist Arto Tuncboyacian, Elliot Mason on Bass Trumpet, Gregoire Maret on harmonica, and a special appearance by Will Calhoun on Wusuli.
What I love about this album is the fact that Matt has no fear of mixing in electronic programming with more familiar composition styles in the world fusion, instrumental, vein. He is so much more than "one of the world's best bass players." The 10th tune, "Changing Paths" blew me away and features Matt playing all the tracks with some phenomenal acoustic guitar to boot! While all the music showcases superb musicianship throughout, it is Matt's tasty computer-driven morsels that surprise and engage my curious ear (check out "I Told Ya So" and "Mirror Image" mp3's below). Matt is simply not afraid to explore the boundaries he 'shapeshifts' into with the wide range of musicians he plays with, and the original music he composes and performs. 
As yet further proof of his fearlessness, the 9th song, "Exchange," (an unquestionable "Bjork" tribute song) is an absolute delight in that it features his wife Veronica's magical singing. It is produced with a perfectly processed vocal effect. The end result creates an ethereal, almost spiritual dimension that is certainly better sounding than anything found on commercial radio! No smooth jazz, retro-Cher/top 40 vibe here... just simply great music, period. Check out this poetic excerpt from the "Exchange" lyrics (translated from Icelandic of course):
"The stars fall into my palms
I put them into me where you are
I rise up against the sky
Open and ready to receive the world."
This is what I mean by No Fear, No Limits...you don't expect it... it is about being an artist and going for it...and he does it with confidence and grace.
Matt is fluent in so many musical styles. He has no problem being both an excellent band leader and a soloist prominently showcasing his innovative bass playing up close and in your face (but not like Jaco on the ego end, or Marcus Miller on the "not quite enough bass soloing" side... just the right amount). While I suspect that feeling of musical "Unity" is what it is all about for Matt Garrison the band leader (listen below), his modern electronic ventures into new and forbidden worlds of jazz is what it's really about for his artistic spirit ...and, damn, what a soulful, together, tight, unified sound he delivers... so happy and so badass five string strummin free!
with Jazz-Rock.com - DECEMBER 9, 2004
1. Congratulations on your LIVE DVD/CD! It is quite excellent. How did it come about? the music? the video? the players?
Thanks. The DVD was an idea that I had floating around for a couple of years and it finally came to fruition when I met Pete Teresi and Carolina Saavedra from Pefaur Productions (www.pefaurproductions.com). I originally wanted to just make a live recording but of course once I had the option of filming the recording session it all just came in to place. The music is primarily from my first CD. We actually recorded even more material that didn't make it to the final output but that's for a reissue with bonus tracks later. All the musicians except for Jojo Mayer were on my first recording and that's who I wanted to feature on the live DVD. 
2. How about your ShapeShifter CD? How did it come together? What was the inspiration?
The title itself is kind of a self description. I feel I have become somewhat of a mutating character that takes on the shape that is necessary for the type of music work at hand. It's also a statement of independence of thought. Having started my own record label has given me a sense of hope, pride and strength when composing music in the sense that I have no one to answer to when I have an idea to layout. The project was constructed over a period of 2 years and just took on a life of it's own once I got to about the 4th composition. Everything just rolled on naturally and as new influences became available they appeared in the music immediately. Shapeshifter was really inspired by my first record, Squarepusher, Bjork and Sergei Prokofiev's music.
3. How do you approach composition and live improv with such original ideas?
I guess I just don't pay attention to what is traditionally or technically considered jazz. I just do what I like and dare to make my own decisions concerning sound, style, approach, concepts... I hate limitations and evaluations. That's not my field. The worst thing is that those limitations and fears usually come from other musicians in my same field. Really some sad shit....
4. What are some golden moments with all the great musicians you have played with?
The golden moments have been just knowing and feeling that while you're performing with these geniuses you share a common bond, even if it's just for a split second, that we're all moving in the same direction. I love it when I'm welcomed into a space to share the experience of music, and over the years I've been blessed to be welcomed into spaces of pure musical bliss. I'm very thankful to all of them...
5. What's going on with GJP and what is your vision for your future?
Well first I'd like to thank all of the incredible people that took the "plunge" and actually purchased my 2 latest projects "Shapeshifter" and "Matt Garrison Live". I posted a notice on my site prior to the release of them both stating that file swapping and CD ripping were only going to make my future productions impossible and that I needed folks to seriously consider supporting my label rather than opposing it. In the past 3 months I've sold more CD's and DVD's than ever before and I cannot possibly thank people enough for their support and respect. We are responsible for our actions and that's the most important reality to understand at the moment. Now that my production war chest is basically full again I'm going to take a breather and decide which project to develop next. Whichever it will be, I will begin that actual work early next year.
Thanks for having me as a guest on your site.
- Matt G.
In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years. Here he studied intensively with both Dejohnette and bassist Dave Holland.
In 1989 Matthew received a full scholarship to attend Berklee College of Music in Boston. Here he began his professional career with the likes of Gary Burton, Bob Moses, Betty Carter, Mike Gibbs and Lyle Mays to mention a few. Matthew moved to Brooklyn, New York in 1994 and has performed and recorded with artists such as Herbie Hancock, Joe Zawinul, Joni Mitchell, Steve Coleman, Pat Metheny, John Mclaughlin, The Gil Evans Orchestra, John Scofield, Chaka Khan, The Saturday Night Live Band and many others.
In 1998 Matthew founded GarrisonJazz Productions through which he currently Produces, Promotes and Markets his music. The latest projects are “SHAPESHIFTER” and “MATT GARRISON LIVE”. All information concerning these and other releases may be obtained through www.GarrisonJazz.com
In the mid 90's we were approached by Matt in his quest to find a bass to compliment his unique playing style. Initially Matt was attracted to the Imperial bass, however after numerous modifications were made at his request, the Imperial was transformed into a significantly new design. The Matt Garrison Signature model is distinguished by several important features including a 33" scale, ash neck, ebony fingerboard, 26 frets and a finger ramp between the pickups to better facilitate Matt's style of light-touch multi finger style playing. The body made of highly select walnut is light and diminutive providing this bass with an overall warm tone but with a pointed clarity to the notes. The shorter scale and quick respone makes this bass incredibly effortless to play.
Bob Moses – Time Stood Still (1994)
Nando Lauria – Points of View (1994)
Steve Coleman – The Tao of Mad Phat (1995)
Joe Zawinul – My People (1996)
Steve Coleman – Def Trance Beat (1997)
John McLaughlin – The Heart of Things (1997)
Rocco Zifarelli – Lyndon (1998)
Harry Sokal – Full Circle (1998)
Andy Milne – Forward to Get Back (1998)
Jim Beard – Advocate (1999)
John McLaughlin – The Heart of Things - "Live in Paris" (2000)
Matthew Garrison – Matthew Garrison (2001)
Dennis Chambers – Outbreak (2002)
Herbie Hancock – Future 2 Future Live (2002)
Anders Mogensen, Niclas Knudsen – Anders Mogensen & Niclas Knudsen feat. Matt Garrison (2002)
Revolution Void – Increase the Dosage (2004)
Matthew Garrison – Matt Garrison Live (2004)
Matthew Garrison – Shapeshifter (2004)
World Saxophone Quartet - Experience (2004)
Wallace Roney – Prototype (2004)
Me'shell Ndegeocello – The Spirit Music Jamia: Dance of the Infidel (2005)
Gary Husband – Force Majeure (2005)
Wallace Roney – Mystical (2005)
John McLaughlin – Industrial Zen (2006)
Alex Machacek, Jeff Sipe - "Improvision" (2007)
Wednesday, March 4, 2009
MATTHEW GARRISON
Thursday, February 5, 2009
JACK DEJOHNETTE
--------------- Since then, Golden Beams has released a remix album "Hybrids", by The Ripple Effect, DeJohnette's latest collaborative project featuring Foday Musa Suso, Marlui Miranda, the most acclaimed and recognized performer and researcher of Brazilian Indian music, multi-instrumentalist and composer John Surman, producer/engineer and guitarist Big Al, and mix master Ben Surman, who produced the album with DeJohnette. Hybrids blends shades of African jazz, reggae and dance music to launch jazz into the 21st century. DeJohnette is up for a 2006 GRAMMY for Best New Age Album this will not come as a surprise to followers of his music, for he often looks outside the borders of jazz when selecting a collaborator, composing a piece or beginning a recording. In fact, readers of both DownBeat magazine and JazzTimes magazine voted DeJohnette Drummer of the Year and Best Drums, respectively, in the recent end-of-the-year Readers Poll. Jazz fans of DeJohnette will have something to look forward to on February 7, 2006 next up on Golden Beams is "The Elephant Sleeps But Still Remembers", a duo album with guitar great Bill Frisell, recorded live at the Earshot Jazz Festival in Seattle, WA. Jack DeJohnette began his musical training in classical piano, which he studied seriously for 10 years. After picking up the drums in high school, Jack graduated from the American Conservatory of Music in Chicago and worked in various music genres in his hometown before moving to New York City in 1966. During his early Chicago years, DeJohnette played everything from R&B to free jazz. ---------------
Jack DeJohnette, born 9 August 1942 is an American jazz drummer, pianist, and composer. DeJohnette was born in Chicago, Illinois. Besides the drums, he studied the piano, which he plays on several recordings. He first became known as a member of Charles Lloyd's band, a group that pianist Keith Jarrett also was a part of at that time. He played with Bill Evans in 1968 on the acclaimed Bill Evans at the Montreux Jazz Festival, and from 1969 to 1972 played with Miles Davis and recorded albums for ECM as both leader and sideman. DeJohnette has led several groups since the early-1970s, including Compost, a jazz-rock group that did two albums for Columbia with Bob Moses and Harold Vick; Directions (with John Abercrombie, Alex Foster, Warren Bernhardt, and Mike Richmond); New Directions (with Abercrombie, Lester Bowie, and Eddie Gomez); and Special Edition (with David Murray, Chico Freeman, Arthur Blythe, Peter Warren, and others). Since the 1980s, he has been a member of what has become known as Keith Jarrett's Standards Trio alongside Jarrett and Gary Peacock. He is a dazzling improviser and a clear stylistic successor of Roy Haynes, and two of the greatest drummers of the 1960s, Tony Williams and Elvin Jones.Since 2003, Jack has been part of Trio Beyond with fellow musicians Larry Goldings (organ) and John Scofield (guitar). The trio was set up in tribute to The Tony Williams Lifetime trio led by Williams with Larry Young (organ) and John McLaughlin (guitar). He also currently appears as a member of the Bruce Hornsby Trio.
DeJohnette successfully incorporates elements of free jazz while maintaining the deep groove of an R&B drummer. His exceptional experience of time and style, combined with astounding improvisational ingenuity, make him one of the most highly regarded and in-demand drummers.
Selected discography
As leader
The DeJohnette Complex (1968)
Ruta and Daitya (with Keith Jarrett) (1972)
Sorcery (1974)
Pictures (1976)
New Directions (1978) with John Abercrombie, Lester Bowie and Eddie Gomez
Special Edition (1979) with Arthur Blythe and David Murray
Tin Can Alley (1980) with Chico Freeman, John Purcell and Peter Warren )
Album Album (1984) with Arthur Blythe and David Murray
In Our Style (1986) with David Murray
Audio-Visualscapes (1988)
Zebra (1989) with Lester Bowie
Parallel Realities (1990) with Pat Metheny,Herbie Hancock and Dave Holland
Dancing with Nature Spirits (1995)
Oneness (1997)
Invisible Nature (2000) with John Surman
Music in the Key of Om (2005), nominated for a 2006 Grammy as Best New Age Album
Music from the Hearts of the Masters (2005) with Foday Musa Suso
The Ripple Effect (2005) with Ben Surman and Foday Musa Suso
Hybrids (2005) with Ben Surman and Foday Musa Suso
The Elephant Sleeps but Still Remembers (2006) with Bill Frisell
As sideman
Charles Lloyd, Forest Flower
Joe Henderson, Power to the People
Miles Davis, Bitches Brew
Miles Davis, Black Beauty: Live at the Fillmore West
Kenny Wheeler, Deer Wan and Gnu High
Keith Jarrett Trio, Standards, Vol. 1 and Standards, Vol. 2, Standards Live
Pat Metheny, Ornette Coleman, Song X
Michael Brecker, Michael Brecker
Michael Brecker, Tales from the Hudson
Michael Brecker, Pilgrimage
Lyle Mays, "Fictionary"
John Scofield, "Time on my hand"
Gateway
Trio with John Abercrombie and Dave Holland
Gateway (1975)
Gateway 2 (1977)
Homecoming (1994)
In The Moment (1994)
In early '70s works as instant drummer for CTI Records. After making recordings for Freddie Hubbard, Joe Farrell, George Benson and other musicians working for CTI moves to ECM Records where he stays for ten years. Jack's engagement with ECM Records from 1974 to 1984 seems to be the most exciting of all. This cooperation is marked with ten solo albums and many sideman recodrings (including widely known Jarrett/Peacock/DeJohnette trio). His last ECM record called "Album Album" becomes 'Album of the Year' in Annual Down Beat Readers' Poll for 1985). Then he moves to Impulse/MCA. His albums reach the top - "Audio-Visualscapes" ('Album of the Year' in Annual Down Beat Critics' Poll for 1989 year). Comercial success is album with Pat Metheny and Herbie Hancock "Parallel Realities" (Album of the Year in Japan). For more information on honoured albums see detailed list of below.
Last three but one CDs are available from Blue Note records (last project for Blue Note titled "Extra Special Edition" features guest vocalist Bobby McFerrin.)
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Due to Jack's extremely busy schedule he does not offer Drum lessons. He does however have training books and Videos/DVDs available. Please visit www.jackdejohnette.com/discography.htm for more information.
Statement from Jack:
Since I dont get a chance to respond personally to all the comments I have received from everyone on myspace, I would like to say thank you now to all who have taken the time to send me their comments and thoughts, I am truly touched by some of the messages and support I have received from you. I am having such a great time, having my own label, involved in some amazing projects and feeling truly blessed to be playing with some of the great artists that I get to play with. The one message I would like to pass on is, that during these difficult times, I feel more than ever that it is important to keep spreading creativity and inspiration wherever it is possible, and contribute to positive change no matter who you are... we do make a difference.
JACK DEJOHNETTE BIOGRAPHY:
Jack DeJohnette is widely regarded as one of jazz music's greatest drummers, recently praised by The New York Times' Ben Ratliff as looking "ever more like one of the most important musicians in the last 40 years of jazz". In his early years on the Chicago scene, he led his own groups and was equally in demand as a pianist and as a drummer, collaborating with most major figures in jazz history, most notably John Coltrane, Miles Davis, Thelonious Monk, Herbie Hancock, and Betty Carter. An expert at a number of instruments, DeJohnette is also skilled at nearly every musical style, from R&B to rock, various world music, reggae, bebop and free improvisation. He is also no stranger to leading bands of his own, last year alone saw the debut of two new projects; The Jack DeJohnette Quartet (featuring Danilo Perez, John Patitucci and Jerome Harris) and The Latin Project (featuring Don Byron, Giovanni Hidalgo, Jerome Harris, Edsel Gomez and Luisito Quintero). In addition to his own recordings, he can be heard on such diverse projects as "The Out of Towners" with Keith Jarrett and Gary Peacock to as Alice Coltrane "Translinear Light" to Meshell Ndegeocello's, "Dance of the Infidels".
On April 26, 2005, DeJohnette launched his new imprint, Golden Beams Productions with the simultaneous release of two singular projects: a stunning duet with the revered Gambian Kora player Foday Musa Suso called "Music from the Hearts of the Masters"; and a sublime recording for relaxation and meditation entitled "Music in the Key of Om".
While in NY, Jack also gigged with John Coltrane, Thelonious Monk, Freddie Hubbard, Bill Evans, Jarrett, Chick Corea, and Stan Getz. In August 1969, DeJohnette replaced Tony Williams as a member of the Miles Davis combo, playing on the Bitches Brew sessions.
In late 1970, Jack began recording with his own groups for Milestone, ECM, Impulse! and Blue Note labels, in addition to continuing his sideman efforts in a wide range of situations.
One of his primary roles over the last decade has been as one-third of Jarrett's Standards Trio with Gary Peacock. His New Directions and Special Edition groups have included such sidemen as Lester Bowie, Arthur Blythe, David Murray, Gary Thomas, Greg Osby, John Abercrombie and Michael Cain.
Besides his work in the drumming world, Jack has also performed with Bobby McFerrin and Lyle Mays as part of a trio called Voicestra, devoted completely to the experimentation of vocal instrumentation.
An expert at a number of instruments, DeJohnette is also skilled at nearly every musical style, from R&B to rock, various world music, reggae, bebop and free improvisation.
At his best, Jack DeJohnette is one of the most consistently inventive jazz percussionists extant. DeJohnette's style is wide-ranging, yet while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His time is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well; no drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.
That's perhaps explained by the fact that, before he played the drums, DeJohnette was a pianist. From the age of four, he studied classical piano. As a teenager he became interested in blues, popular music, and jazz; Ahmad Jamal was an early influence. In his late teens, DeJohnette began playing drums, which soon became his primary instrument. In the early '60s occurred the most significant event of his young professional life -- an opportunity to play with John Coltrane. In the mid-'60s, DeJohnette became involved with the Chicago-based Association for the Advancement of Creative Musicians. He moved to New York in 1966, where he played again with Coltrane, and also with Jackie McLean. His big break came as a member of the very popular Charles Lloyd Quartet from 1966-1968. The drummer's first record as a leader was 1968's The DeJohnette Complex. In 1969, DeJohnette replaced Tony Williams in Miles Davis' band; later that year, he played on the trumpeter's seminal jazz-rock recording Bitches Brew. DeJohnette left Davis in 1972 and began working more frequently as a leader. In the '70s and '80s, DeJohnette became something like a house drummer for ECM, recording both as leader and sideman with such label mainstays as Jan Garbarek, Kenny Wheeler, and Pat Metheny.
DeJohnette's first band was Compost; his later, more successful bands were Directions and Special Edition. The eclectic, avant-fusion Directions was originally comprised of the bassist Mike Richmond, guitarist John Abercrombie, and saxophonist Alex Foster. In a subsequent incarnation -- called, appropriately, New Directions -- bassist Eddie Gomez replaced Richmond and trumpeter Lester Bowie replaced Foster. From the mid-'70s, Directions recorded several albums in its twin guises for ECM. Beginning in 1979, DeJohnette also led Special Edition, a more straightforwardly swinging unit that featured saxophonists David Murray and Arthur Blythe. For a time, both groups existed simultaneously; Special Edition would eventually become the drummer's performance medium of choice. The band began life as an acoustic free jazz ensemble, featuring the drummer's esoteric takes on the mainstream. It evolved into something quite different, as DeJohnette's conception changed into something considerably more commercial; with the addition of electric guitars and keyboards, DeJohnette began playing what is essentially a very loud, backbeat-oriented -- though sophisticated -- instrumental pop music.
To be fair, DeJohnette's fusion efforts are miles ahead of most others'. His abilities as a groove-centered drummer are considerable, but one misses the subtle colorations of his acoustic work. That side of DeJohnette is shown to good effect in his work with Keith Jarrett's Standards trio, and in his occasional meetings with Abercrombie and Dave Holland in the Gateway trio. DeJohnette remains a vital artist and continues to release albums such as Peace Time on Kindred Rhythm in 2007.
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Sunday, February 1, 2009
JOE ZAWINUL
Joe Zawinul belongs in a category unto himself --a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remains insatiable. Zawinul's curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late '60s and '70s -- and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He is one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul's example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also has became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he now prefers to improvise compositions spontaneously onto tape, not write them out on paper.
At six, Josef Erich Zawinul started to play the accordion in his native Austria, and studies in classical piano and composition at the Vienna Conservatory soon followed. His interest in jazz piano, initially influenced by George Shearing and Erroll Garner, led to jobs with Austrian saxophonist Hans Koller in 1952 and gigs with his own trio in France and Germany. He emigrated to the United States in late 1958 after winning a scholarship to Berklee, yet after just one week in class, he left to join Maynard Ferguson's band for eight months, where Miles Davis first took notice of him. Following a brief stay with Slide Hampton, Zawinul became Dinah Washington's pianist from 1959 to 1961, and then spent a month with Harry "Sweets" Edison before Cannonball Adderley picked him to fill the piano chair in his quintet. There Zawinul stayed and blossomed for nine years, contributing several compositions to the Adderley band book -- among them the major pop hit "Mercy, Mercy, Mercy," "Walk Tall," and "Country Preacher" -- and ultimately helping to steer the Adderley group into the electronic era. While with Adderley, Zawinul evolved from a hard bop pianist to a soul-jazz performer heavily steeped in the blues, and ultimately a jazz-rock explorer on the electric piano. Toward the end of his Adderley gig (1969-1970), he was right in the thick of the new jazz-rock scene, recording several pioneering records with Miles Davis, contributing the title tune of Davis' In a Silent Way album.
After recording a self-titled solo album, Zawinul left Adderley to form Weather Report with Wayne Shorter and Czech bassist Miroslav Vitous in November 1970. Weather Report gave the increasingly self-confident Zawinul a platform to evolve even further as his interest in propulsive grooves and music from Africa and the Middle East ignited and developed. He gradually dropped the electric piano in favor of a series of ever more sophisticated synthesizers, which he mastered to levels never thought possible by those who derided the instruments as sterile, unfeeling machines. Weather Report eventually became a popular group that appealed to audiences beyond jazz and progressive rock, thanks in no small part to Zawinul's hit song "Birdland."
When Zawinul and Shorter finally came to a parting of ways in 1985, Zawinul started to tour all by himself, surrounded by keyboards and rhythm machines, but resurfaced the following year with a short-lived extension of Weather Report called Weather Update (which did not leave any recordings). Weather Update quickly evolved into another group, the Zawinul Syndicate, which over the span of a decade tilted increasingly toward groove-oriented world music influences. Zawinul has showed renewed interest in his European roots, collaborating with fellow Viennese classical pianist Friedrich Gulda from 1987 to 1994, producing a full-blown classically based symphony, Stories of the Danube, in 1993, and following the near-disastrous Malibu fires of 1994, moving from California to New York City in order to be closer to Europe. In 2002 he released Faces & Places, his first studio album in several years and one that boasted an international roster of supporting musicians. Since that time he has released a handful of albums including Midnight Jam in 2005 and Brown Street in 2007.
Though he continues to explore new musical paths at an age when most jazzers are long set in their ways, Zawinul's influence upon jazz has waned in recent years due to the jazz mainstream's retreat from electronics back to acoustic post-bop. But Zawinul's uplifting, still-invigorating later music may make him a prophet again if global music infiltrates the jazz world.
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