Oct 11, 2006 Pianist , Composer , and Educator Michele Rosewoman We would like to thank Michele for being a part of our website and offering us this great BIO.Ms. Rosewoman was born in Oakland, CA where she started playing piano at age six and studied jazz traditions with the great pianist/organist Ed Kelly. In her late teens she began playing percussion and studying Cuban/Haitian folkloric idioms. By the time she moved to New York in 1978, she had already performed at major venues in the San Francisco Bay Area with her own ensembles and with Julian Priester, Julius Hemphill, Baikida Carroll and Oliver Lake and other fellow jazz innovators. In New York Rosewoman formed new ensembles and continued to present her music while collaborating with Rufus Reid, Reggie Workman, Freddie Waits, James Spaulding, Billy Hart, Carlos Ward and others as well as with Cuban master drummer/vocalist, Orlando ‘Puntilla’ Rios, and other musicians in the folkloric community. In 1983 she received an NEA grant to form the pioneering 14-piece ensemble “New Yor-Uba, A Musical Celebration of Cuba in America” that debuted at The Public Theater that December and appeared at festivals throughout Europe in 1984. That year she made her recording debut as pianist and arranger for the Cuban songo group, Los Kimy. Her experience as a percussionist continues to shape many aspects of her music. In the Latin music genre, Rosewoman has performed with Puntilla’s “Nueva Generacion,” Celia Cruz, Paquito D’Rivera, Daniel Ponce and Chocolate among others. Rosewoman received the ASCAP/Meet the Composer Commission for Emerging Composers that year (awarded by Dizzy Gillespie, Marian McPartland and Lester Bowie) resulting in a new work performed by the 40-piece Brooklyn Philharmonic Orchestra and a quintet of improvisers, including Rufus Reid, Greg Osby and Howard Johnson. Rosewoman’s recording debut as a leader, The Source (Soul Note /1984) was praised for its radiance and ingenuity. Quintessence (Enja/1987) was named by numerous critics and polls as one of the best jazz releases of the year and has been cited as one of the best jazz recordings of the 1980's. As Ms. Rosewoman established a reputation as one of the most ingenious and prolific bandleaders of her generation, Down Beat wrote: "…She communicates assurance and ardor whether on the cutting edge of jazz or within the mainstream. What musicianship and moving expression! Bring on the future." In addition to five recordings with Quintessence, Ms. Rosewoman has two trio recordings: Occasion To Rise (Evidence/1993), was voted one of the year’s best recordings by six critics’ polls. The critically acclaimed album Spirit (Blue Note/1996) was recorded live at the Montreal Jazz Festival. Since it's debut in 1986 at the Cooper Union Great Hall in New York, Quintessence has been the main vehicle for Rosewoman's evolution as pianist, composer and bandleader. She assembled dynamic bands to interpret her writing, and became known for bringing together musicians who today are some of the most inventive voices in jazz, including saxophonists Steve Coleman, Greg Osby, Gary Thomas, David Sanchez, Steve Wilson, Miguel Zenon and Mark Shim; bassists Kenny Davis, Anthony Cox and Lonnie Plaxico; and drummers Terri Lyne Carrington and Gene Jackson, among others. Many have cited the experience of playing in Quintessence as notably influential in their development as musicians, composers and bandleaders. Regarding Ms. Rosewoman’s previous Quintessence release, Guardians of the Light (Enja/2000), an NPR review noted: “…[She] sounds more than ever the confident master of her committed course. An indomitable modern jazz pianist, her singular sound ideas expand readily to her dark, fiery ensembles. So it all comes together, big, tight and flexible, rangy, spontaneous, serious and mysterious. Rosewoman and her band are jazz believers, jazz devotees, keepers of the flame." Rosewoman and Quintessence received a 2003 Chamber Music America/Doris Duke Foundation New Works Creation and Presentation Commission. In 2006 they received one of the first Chamber Music America Encore Grants. Other recent activity includes a six-country European tour with trombonist Robin Eubanks and a series of duo performances with Greg Osby. Rosewoman has appeared at jazz festivals, concert halls and clubs throughout the U.S., Canada and Europe including the JVC, Ravinia, Atlanta, San Francisco, Montreal, Toronto, Vancouver, North Sea, Paris, Warsaw and Berlin jazz festivals and Carnegie Hall, Merkin Hall, Cooper Union Great Hall, the Public Theater, MOMA, NYU, Temple University, Stanford University, The Blue Note (New York & Tokyo), the Village Vanguard, The Apollo, Sweet Basil, Birdland, Jazz Standard, Yoshi's, New Morning (Paris) and the Jazz Café (London). As an educator she conducts classes, workshops and clinics at colleges and universities around the US while teaching piano and composition privately. Ms. Rosewoman has also held past and current teaching positions at NYU and the New School for Social Research and in February 2006 a composition department residency at Berklee College of Music. -- By Mitchell Feldman© September 2006 **************************************************** Michele Rosewoman & Quintessence Fall 2006 Tour Dates: Oct 22 - Bach Dancing & Dynamite Society / Half Moon Bay, CA Oct 24 - Yoshi's Jazz Club & Restaurant / Oakland, CA Oct 25 - The Earshot Jazz Festival / Seattle, WA Oct 26 - The Jazz Bakery / Los Angeles, CA Oct 28 - Dizzy's / San Diego, CA Nov 09 - The Outpost / Albuquerque, NM LINK Sep 15, 2006 An Interview with Vince Lewis This Interview was recently published in www.Jazzguitar.be and we would like to thank Vince for sharing it with us. Please remember you can open up a score of his original composition Sue’s Waltz at the link on the close of the interview.Dirk Laukens of www.Jazzguitar.be formulated these questions for Vince. 1. At what age did you start playing guitar and when did you start playing jazz? I started playing guitar at 5 years of age and began my professional career at 14. I decided to focus on playing jazz my second year of High School when I began playing with an 8 piece band of much older musicians. That was the style that most of them played when they had the choice. They took me to late night jam sessions in Charleston, West Virginia where I learned to improvise from some fine players. 2. Which people influenced you as an improvising musician? Wes Montgomery became the driving force for me from the time I first heard him. I also listened a lot to Herb Ellis, Joe Pass, Charlie Byrd, Mundell Lowe, Barney Kessel, and Tal Farlow. Trumpeter Miles Davis and pianists Oscar Peterson and Bill Evans were also high on my list, as I love their harmonic genius and emotional drive. Did you take guitar lessons when you were young? I started my lessons at 5 years of age with Bob Whitlock, a truly fine player. I worked with him weekly until I was 16 when he moved to Florida. It was a real blessing to have him as a teacher and role model and we remain close friends. What do you listen to today? I still listen to lot of the same people that I did when I was growing up. That music will never grow old or out of date and I am always finding recordings that I have not heard. I really enjoy good contemporary players like Lee Ritenour and Larry Carlton. I am also very fortunate to hear a lot of new players in my position as reviewer for both Just Jazz Guitar Magazine and Modern Guitars Magazine, an online publication. There is quite a bit of talent out there and modern recording techniques and the Internet give them a chance for more exposure than ever before. 3. What gear do you use? I play and record exclusively with Heritage guitars and play mainly on one of two custom-built 16-inch carved hollow bodies. I have been a Heritage performing artist since 1991 and they are perfect for what I need. I play through the new Heritage Amplification Freedom tube amp with a single 12-inch speaker. What was your first guitar? My first decent electric was a Fender Musicmaster. When I became more jazz oriented, I had a 1964 Gretsch single Anniversary. It was my first good hollow body guitar. 4. Do you get frustrated about your guitar playing sometimes? I am actually very pleased with what I do at this point in my career. I try to challenge myself technique-wise and also incorporate new things into my playing whenever I pick up my guitar. What aspects of guitar playing do you feel you need to improve on? I try often to add new tunes to my repertoire. I also need to write more. My original music has been very well accepted. This summer I composed my first tune in 15 years. It is titled, “Sue’s Waltz” and is harmonically in the Bill Evans style. 5. What is your practice routine like? I mostly play new music and refresh old standards that I have not played in a while. I keep a guitar out at home on a stand. When I see an instrument close by I pick it up and play a lot more than when they are in the case. I do not practice scales anymore and haven’t for years. How much time do you devote to studying music and guitar? I am always thinking about music and constantly hearing tunes in my head (they sometimes keep me up in the night). When the guitar is not actually in my hands I still visualize it there. There is always something new to learn from other players of all instruments. The most important part of learning is to listen as much as you can. 6. Do you teach music? I have taught at the college level since 1973. I am presently at Liberty University as Assistant Professor of Guitar with 44 private students per week. The best thing about teaching is having the guitar in my hands every day. What do you hope a student gets out of your teachings, besides the obvious? I try to provide my students with the technical skills necessary to express their individual personality through the guitar. Note reading and chord knowledge is critical. I also stress professionalism and respect for other players. 7. What are your favorite standards to play? I love the challenge of classics like “All The Things You Are” and “Bluesette.” Playing effectively through the chord progressions of these tunes requires a lot of thought and there is always something different that can be done. 8. Are you make a living as a professional musician? I have been a full time player most of my life. Most players I know supplement their performance income with teaching privately or in a school setting. What did you have to do to make this work for you? Networking is critical to being able to book enough jobs to make a living. Giving referrals as well as accepting them is always appreciated, and the right thing to do. Being responsible and maintaining a professional appearance and attitude is something that many jazz players fall short of in today’s world. What are the pros and cons of being a professional musician? The main benefit is being able to do what you love and make other people happy while doing it. Making you own schedule and having time free for other pursuits also is a plus. On the minus side there is the lack of a regular paycheck. The issues of health insurance and other normal benefits are also serious issues for any self-employed individual. There are many players now willing to give their music away just for the exposure. This makes it extremely difficult for the full time musician to make a living. Do you have any tips for people starting in the music business? Follow your heart and be realistic about your capabilities. Do not assume that the music business is something of which everyone is capable of making a career. 9. What projects are you working on at the moment? I have a trio CD scheduled to be released in December 2005 titled, “The Vince Lewis Trio…Better Than Ever.” The title reflects my reunion with two players that I grew up with in Charleston, West Virginia. There is also a second collaboration with guitarist Steve Abshire on Noteworthy Jazz. It includes the regular Charlie Byrd rhythm section of Joe Byrd on bass and Chuck Redd on Drums. It is a live concert recording titled; “Live At The Mainstay” and it will be released shortly as well. 10. Do you have any advice for beginning jazz guitarists? It is critical to equally develop technical skills and a good attitude. The player’s personality must show in the music they choose to play. It is important to listen to a variety of styles and players. Once a player determines their musical direction they should stick with it. High quality musical material is timeless and always will be appreciated by listeners. Click Here to open Sue's Waltz Download Mp3 File Aug 13, 2006 Berklee Guitar Professor Chris Buono After going back and forth with Chris for a few months we were able to hook up with him and do this interview. I said to him “You must be one of the busiest guitarists around “ and if you read the interview and bio he presented us with you will find out what makes this great guitarist tick. We are really happy and grateful Chris took the time out to share his insights with all of us. So please read enjoy and learn. Thanks so much Chris Buono from all of us at String Sound Studios 1. String Sounds: When did you start playing a musical instrument or instruments and at what point in life did you know music was going to be your career? Chris: I was around 11 or 12 when I started tinkering with my older brother’s ES-175. Due to his obsession with Yes, my first guitar hero was Steve Howe and the first tune I ever learned was “Roundabout”. This was a great path to be set on since the music was so challenging. Both of my older brothers were constantly turning me onto all kinds of great music as well as the many facets of the guitar. Because I grew up and spent most of my life in a tourist area like the Jersey Shore and I was still close to NYC, I was exposed to so much music. I got into it all—jazz and it’s many sub-genres, shred metal, funk, the blues, thrash, R&B and soul, underground punk and hardcore, using effects—you name it. I always saw the guitar as a powerful tool for creating music and sounds and I guess it just kind of found me in terms of pursuing it as a profession. I never considered doing anything else with my life and I never will —it’s just what I do. 2. String Sounds: Of the teachers you have studied with who have been the most influential? In what way? Chris: I’ve had the honor and the pleasure (and the luck) to study with some of the real greats: Mick Goodrick, Wayne Krantz, David Fiuczynski, and Vic Juris to name a few. They all had massive impact on me as a player, a teacher, and as a professional and a person. But the two guys who really got me off on the right foot were my first two teachers back in Jersey—Frankie Cicala and Gerry Carboy. Frankie was and still is the local badass. Frankie drilled the key signatures and a lot of basic theory concepts in a way that really stuck in my head while encouraging me to improvise. One day he took me aside and shoved a Real Book under my shirt when I was like 13, sent me out the back door, and said, “Learn everything in this book and you’ll eat”—man! Was he right. Gerry was a bass player who had success in the 70s with in the NY session scene and the fusion scene. When he was off the road with David Sancious or Barry Miles he would lock himself in “in the shed” and that’s where he developed a massively organized methodology based on the diatonic modes, triads, and bi-tonality for superimposition that proved to be incredibly beneficial to me and really helped me get to the next level and beyond. I owe so much to Frankie and Gerry and all of my teachers for so many reasons and I consider them all family. 3.String Sounds: Along with playing out a lot you are doing quite a bit of teaching, how do you find time to practice? Chris: Practice? … Oh yeah, I remember that! It’s VERY difficult to find time to actually practice. I’m usually practicing things I need to perform or record when I’m not actually performing or recording. Back in the days when I was teaching privately in my house and doing the grind in music stores, I would take those couple of minutes between students and work on something. Those momentary clips actually helped a lot and they made me really discipline myself to intensely concentrate on something since I only had one hot minute to spare. Otherwise, I pray for some free time and try not engaging in the million other things I need to do—eat, sleep. 4. String Sounds: You are well known for your unique improvisational style. What are some of your approaches to teaching improvisation? Chris: It’s different for every level. When I was teaching beginners I always tried to get them to improvise in any way they felt comfortable so they would never feel intimidated by the process. I never forced a style on anyone but I always tried to turn students onto all the great music out there so they can develop that internal encyclopedia to draw from. Generally I try to make sure students practice playing over some kind of backing music if they can’t get a real human to play with. With technology being where it is and the access we have on the net, it’s so easy to create or obtain music to play over. Even better yet, it’s easy to record yourself so you can listen back and hear what you need to work on or decide to keep doing in your playing—that’s huge! I really stress playing and not getting so intellectual. I made the mistake of geeking out on a boatload of theories and concepts that I couldn’t really translate into music yet. My mind was way ahead of my hands and ears for a bit and I had to step back and change that while getting yelled at on a lot of gigs. 5. String Sounds: Who are some of your favorite guitarist or other instrmentalists to listen to and why? Chris: Ouch—there’s so many. I really love the guitar and I’ll give anyone a try so I’ve been constantly on the hunt for inspiring players long before it became part of my professional existence to do so. I’ll try to list some of all time favorites and they’re listed here because they truly made me feel something inside or they’re just plain nasty! Steve Howe, Steven Egerton (All), Joe Pass, The Edge, Eddie, Pat Metheny, David Fiuczynski, Wayne Krantz, Marty Freidman and Jason Becker, Adam Levy, Jim Campilongo, Wes, George Benson, Alex Lifeson, Steve Vai, Satch, Pat Martino, Jimmy Nolen ... 6. String Sounds: What practice methods do you feel benefit you the most? Chris: Playing music. The most valuable thing I learned from guys like Wayne Krantz and Fuze were to always play music. How could you possibly spontaneously compose music without actually spending time doing it? If you put all your time into processes and thoughts and theories, that’s all your going to have to say when you step up to the plate. Aside from that, practice with a metronome. Sounds simple, but it’s the real deal and not many people do it and that’s why their time is not happening. Nothing will end a career before it ever gets started faster than having bad time. 7. String Sounds: What kind of Guitar (s) and accessories do you favor to get your sound? Chris: A guitar (usually my bionic ’73 Strat) that’s setup to my specs with D’addario strings, a killer wah like my Tesse RMC III or vintage Crybaby, my Retrospec Squeeze Box, a warm, singing overdrive—there’s to many to list that I use, a Digitech Whammy II, an Ernie Ball Volume Pedal, an early Boss (Made in Japan) delay, and quality cables into a great vintage amp with NOS tubes if you want my preferred bare minimum. I always like to have some noise toys of course and I usually walk up to my pedal shelves and start cooking up a signal chain in my head as I grab some weaponry for whatever it is I’ll be doing. I have some really great stuff from 4mS, Frostwave, Frantone, Line 6, Lovetone, Prophecysound, Electro-Harmonix, and Z.Vex. 8. String Sounds: Are there any other subjects or hobbies you enjoy outside of music? Chris: My two sons! They keep everything in check and make my life full of Kodak moments—everything I do is for them. I love old cars and hot rods, riding or driving a boat, tinkering with Mac apps for graphics and video, and I’m gearing up for next spring when I dive into my yard and finally learn how to plant something without inevitably killing it. 9. String Sounds: What advice can you give students who admire your accomplishments and want to be a musician like yourself? Chris: First, play that guitar and leave your mind wide open to the massive amount of amazing music on this planet. Next, find out whom you are both musically and personally—build confidence. Then, go out and take on the world and never let anyone tell you ‘you can’t’—you can. Learn what networking is and learn how to do it well. Take every gig in the beginning and treat it like you’re subbing for Jimmy in Led Zeppelin. This is a life journey and if you truly love it, it will never feel like work—well, most of the time. 10. String Sounds: Can you give us some insight on what you have planed for the next couple of years in the music business? Chris: In the next year I will be releasing a handful of CDs with me as a leader (finally) that feature some great, great musicians like Graham Haynes, Matt Rubano (Talking Back Sunday), John Ellis (Charlie Hunter), Danny Sadownick and Steve Jenkins (Screaming Headless Torsos), Tobias Ralph and more. I’ve yet to decide if I will pursue these completely on my own or if I will seek out a label that suits each project. I’m in talks with a major publisher for a new book that I may co-write on a subject I promise will matter and not just be another version of a subject that already has had several dozen volumes written about it already. I will be applying for my second early promotion at Berklee to bump me to the third of the four tiers of our ranking system, which ultimately I want to be at the fourth tier—full professor—before I’m 40. When my boys are a little older I want to get back to traveling—this time around not as a sideman, but as a leader. I really want to go play in Europe again and I think when people hear what I have on these releases it will start to come together. Stay Tuned. BIO Chris Buono—improviser/composer/writer/video-clinician/educator—may just be the busiest guitarist you’ll ever encounter. So far 2006 Chris has recorded on four CD projects that included a dizzying array of today’s most highly regarded musicians from a myriad of styles. Starting in January, Chris went into Peter Karl Studios in Brooklyn with co-conspirator Andy Sanesi and led a star-studded cast of New York’s finest improvisers to record a CD of music composed by Chris and jam-band icon Jesse Gibb (Schleigho) dedicated to the imagery of the 1979 cult-movie classic, The Warriors. The two-day session brought together a New Your City super-group that included Graham Haynes, Danny Sadownick (Screaming Headless Torsos), John Ellis (Charlie Hunter), Matt Rubano (Talking Back Sunday), and Ben Stivers (Matchbox 20). In February Chris collaborated with Canadian shred guitarist Dave Martone for their contribution to an upcoming shred compilation called the The Alchemists Vol. 2 on the UK instrumental guitar label Liquid Note Recordings (LNR) with Strapping Young Lad drummer Gene Hoglan. When March rolled around Chris headed down to Bill Laswell’s studio in West Orange, NJ for another “player” summit that included modern jazz monsters Leon Gruenbaum (Vernon Reid), Marcus Gilmore (Chick Corea) for the upcoming debut release from Graham Haynes on Ravi Coltrane’s new label, RKM Music. May found Chris in Berklee College of Music’s Studio A with Tobias Ralph and Steve Jenkins (Screaming Headless Torsos) to record a trio CD documenting this group’s amazing and innovative sound. In-between recording sessions and an incendiary performance at the 2006 NAMM Convention with jazz/rock fretless guitar legend David Fiuczynski and his band Kif, Buono is a regular contributor to Guitar One Magazine and Mel Bay on-line webzine Guitar Sessions, a columnist for Just Jazz Guitar Magazine, and an Assistant Professor at the famed Berklee College of Music as well as a seminar instructor at the National Guitar Workshop. In addition to his popular submissions to Guitar One, Chris also plays all of the musical examples for the camera on the accompanying CD-ROM putting his own headless torso in front of 160,000 viewers a month. Chris’ unmistakable sonic stamp can also be heard on such diverse releases as jazz/fusion drum legend Rodney Holmes’ debut solo release 12 Months of October, the debut from blues/rock/rap star Tony C. and the Truth, Demonophonic Blues (Lava), and Persian singer/songwriter Haale’s award winning EP Se. Along with these high profile releases, Chris has been in incredible live playing situations with these and other artists like Don Byron, DJ Logic, Keith Carlock (Sting), Grammy nominated vocalist Carla Cook, and many others. As a result, Chris has appeared on national television, numerous independent releases, has had his own compositions featured on numerous MTV and VH-1 programs, and performed in countless clubs and theatres across North America and Europe including the Blue Note in New York and the Bayerischer in Munich. Please visit www.chrisbuono.com for more information on Chris Buono happenings, products, and teaching. Jul 23, 2006 Guitarist Howard Roberts  Howard was born on October 2, 1929. His father didn't want him to be a musician. Howard eventually told his dad, 'Dad, if you take my music away you have taken my life. At an early age Howard decided that he was going to play the guitar. Howard tells the story, When I was about eight years old, I fell asleep in the back seat of my parents car one very hot summer afternoon and when I woke up I just blurted out, I have to play the guitar.'" He tried to build a guitar out of a board and bailing wire without much success. His parents, feeling sorry enough for him, went out and bought him a little $18 Kalamazoo acoustic guitar, a student model made by the Gibson Company, as a Christmas present. His first guitar teacher was a local lady, but unfortunately, she died a few months after he started. Howard eventually found a new teacher, Horace Hatchet, who had arrived in Phoenix after a stint in the military. Howard learned much about the guitar on his own, however, and was considered to be mostly self-taught on the instrument. When he was about fifteen, Howard started playing in blues and jazz clubs in the Phoenix area and this is where he started learning the craft of improvising. He also got quite an extensive background in the blues, playing in many of the clubs with mostly black musicians, who took him under their wing and taught him about music. Howard took it all in and found it to be a wonderful experience for him. Howard Roberts went on to make many great contributions to music. Among being a great guitarist and studio musician he was a pioneer in music education and started GIT (Guitar Institute of Technology). Although he played on numerous movie and television scores and has recorded on many top 20 hits with artists such as Elvis Presley, Eddie Cochran, and Bobby Darin you may want to pick up his own recordings such as “ H.R is a Dirty Guitar Player “ and “ Color him Funky. Mar 06, 2006 Welcome to our Artist Spotlight section |
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