Know a child aged 10 to 15 interested in joining the Preservation hall Junior Jazz and Heritage Brass Band for their weekly classes? Email Ashley at ashley@preshallfoundation.org for more information!
Showing posts with label carl leblanc. Show all posts
Showing posts with label carl leblanc. Show all posts
Monday, August 8, 2011
More Photos from the Preservation Hall Junior Jazz and Heritage Brass Band
The Preservation Hall Junior Jazz and Heritage Brass band wrapped up this weekend with another stellar class. Check out some great photos from Barry Kaiser from this past class!
Know a child aged 10 to 15 interested in joining the Preservation hall Junior Jazz and Heritage Brass Band for their weekly classes? Email Ashley at ashley@preshallfoundation.org for more information!
Know a child aged 10 to 15 interested in joining the Preservation hall Junior Jazz and Heritage Brass Band for their weekly classes? Email Ashley at ashley@preshallfoundation.org for more information!
Friday, July 29, 2011
Photos from the Preservation Hall Junior Jazz and Heritage Brass Band
Each Saturday afternoon at Preservation Hall, The Preservation Hall Junior Jazz and Heritage Brass Band gets together to learn the traditional brass band music. Emphasizing the repertoire and traditions associated with the New Orleans style of brass band playing, Banjoist/Guitarist for Preservation Hall, Carl LeBlanc, teaches this fine group of young musicians. Here are some photos from last week's class, compliments of Barry Kaiser.
Monday, January 24, 2011
Preservation Hall Junior Jazz & Heritage Brass Band-with Branford Marsalis!
Check out this video of the Preservation Hall Junior Jazz & Heritage Brass Band performing with Carl LeBlanc and Branford Marsalis!
Monday, August 30, 2010
Preservation Hall on Fox News-Crescent City Music Rising
In observance of the 5 year anniversary of Hurricane Katrina, Fox News visited New Orleans and Preservation Hall. Click the photo above to view interviews with Preservation Hall's Carl LeBlanc and Rickie Monie.Wednesday, February 24, 2010
"PRESERVATION": Reviewed by PASTE Magazine!
Hall of Champions: All-Star Musicians Team With Preservation Hall Jazz Band
by Alison Fensterstock
for Paste Magazine
by Alison Fensterstock
for Paste Magazine
The new album of surprising collaborations with Preservation Hall—New Orleans’ bastion of traditional jazz—started with Tom Waits and a sign from God. In that order.
In the early fall of 2005, the Preservation Hall Jazz Band shared a bill with Waits, among others, at a Hurricane Katrina benefit at Radio City Music Hall. During a lull backstage, Preservation Hall creative director Ben Jaffe and vocalist/reed man Clint Maedgen—both huge fans—noticed Waits alone, leaning against a wall.
“I had my tuba,” Jaffe says. “I said, OK, Clint, let’s go. This is never gonna happen again.” They chatted with Waits. They played him a song. They got a phone number. “Since then, for years, at least once a week Clint and I would have our conversation about what we were gonna do with Tom,” he says. Jaffe dug out an old song called “Tootie Ma Is A Big Fine Thing,” which appeared as an extra track on a Baby Dodds Trio CD—the original 1940s vinyl was possibly the first commercial waxing of a Mardi Gras Indian street chant. That, they decided, would be the song they’d do someday with Waits. Jaffe sat on it until, one day, sifting through stacks of records at the Hall archive, the first album he pulled out was one of those rare original 78-RPM copies of “Tootie Ma.” He mailed it to Waits along with a 78 player and a note asking him if he’d like to record it at the Hall. Months passed before he finally got an email back: When were they available to record?
“I took it as a sign from God that Tom Waits was going to record ‘Tootie Ma Is A Big Fine Thing’ with the Preservation Hall Jazz Band,” Jaffe says. “I thought, ‘This is the only thing that could possibly convince him—to give him the only copy I’ve ever seen in my life.’”
“Tootie Ma” is a standout on Preservation, the band’s new album, which also includes collaborations between the Hall band and a diverse assortment of artists including Andrew Bird, Brandi Carlile, Richie Havens, Pete Seeger, Del McCoury and Jim James of My Morning Jacket. Every track was recorded live at the Hall, and almost all the songs are traditional and public domain, done in the classic Hall style—acoustic hot jazz with banjo, clarinet and brass—that has remained New Orleans’ hallmark sound since the late 19th century.
Preservation Hall itself is a major tourist attraction, but it’s not touristy in the least. In a ramshackle wooden building in the French Quarter, elderly men in black suits and ties play the traditional New Orleans jazz they’ve played for half a century or more, music passed down to them from men who often had learned it the century before last. It’s the real deal. Jaffe, 39, took over stewardship of the Hall from his parents the week after graduating from Oberlin in 1993. As he updates it for the 21st century, he walks a line: keeping tradition sacred, but also relevant and exciting for a new generation.
“At 22, when I took over,” Jaffe says, “I was petrified that when the original Preservation Hall band passed away that we’d cease to exist. But by the late ’90s [as some original members were replaced] I began to see that people would still come see us for this very real New Orleans experience.”
The collaborators on Preservation seem to feel the same way. Carlile recorded the traditional hymn “The Old Rugged Cross” on a Sunday, with Hall guitarist/banjo player Carl LeBlanc, a veteran of the last incarnation of Sun Ra’s Arkestra. “The Preservation Hall band’s performance of these standards and their obvious passion and roots in New Orleans music sets the bar tremendously high for recording artists in any genre,” Carlile says. “I think the pairing of the performers with the Preservation Hall band bridges gaps in a really cool way.
Monday, February 8, 2010
"PRESERVATION" Preview #17: Appearing with PHJB on their upcoming benefit album - MS. BRANDI CARLILE!
February 16, 2010 - PRESERVATION: an album benefiting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
BRANDI CARLILE
by Mark Deming
for AllMusic.com
A gifted singer/songwriter whose rich voice and literate storytelling belie her youth (she was only 23 when she released her major-label debut), Brandi Carlile was born in the small town of Ravensdale, WA, an isolated community 50 miles from Seattle. With few neighbors or friends nearby, Carlile grew up learning to make her own entertainment, camping and hiking in the nearby woods and teaching herself to sing. Carlile grew up listening to the classic country music her parents doted on (Patsy Cline remains Carlile's favorite singer), and she made her stage debut at the age of eight after she was taken to a local country radio show by her mother. At 17, Carlile picked up the guitar, having developed a taste for rock & roll through Elton John's classic albums of the 1970s (she cites Tumbleweed Connection as a particular favorite), and she began hitting the Seattle bar scene, playing anywhere she could get a gig (including a stint singing backup for an Elvis Presley tribute act). While playing clubs, she encountered a band called the Fighting Machinists, featuring twin brothers Tim Hanseroth on guitar and Phil Hanseroth. Impressed by their instrumental skills and spot-on harmonies, Carlile became an instant fan of the Fighting Machinists, and when the group broke up, she persuaded the Hanseroth twins to form a group with her. While they started out as an aggressive rock & roll band, Carlile's emotionally powerful songwriting and acoustic guitar work soon became the dominant component of their sound, and they began touring regularly, headlining small venues and opening shows for Dave Matthews, Shawn Colvin, and India.Arie. In 2000, Carlile recorded the first of several self-released recordings that sold briskly at shows, and in 2005 she was signed to Columbia Records,
releasing a self-titled album later that same year. The album earned enthusiastic reviews, and Carlile was named one of 2005's "Artists to Watch" by Rolling Stone. In 2006, Carlile and her band began work on her second Columbia album, with T Bone Burnett producing. Titled The Story, it was released in spring 2007. Give Up the Ghost followed two years later in 2009.
BRANDI CARLILEby Mark Deming
for AllMusic.com
A gifted singer/songwriter whose rich voice and literate storytelling belie her youth (she was only 23 when she released her major-label debut), Brandi Carlile was born in the small town of Ravensdale, WA, an isolated community 50 miles from Seattle. With few neighbors or friends nearby, Carlile grew up learning to make her own entertainment, camping and hiking in the nearby woods and teaching herself to sing. Carlile grew up listening to the classic country music her parents doted on (Patsy Cline remains Carlile's favorite singer), and she made her stage debut at the age of eight after she was taken to a local country radio show by her mother. At 17, Carlile picked up the guitar, having developed a taste for rock & roll through Elton John's classic albums of the 1970s (she cites Tumbleweed Connection as a particular favorite), and she began hitting the Seattle bar scene, playing anywhere she could get a gig (including a stint singing backup for an Elvis Presley tribute act). While playing clubs, she encountered a band called the Fighting Machinists, featuring twin brothers Tim Hanseroth on guitar and Phil Hanseroth. Impressed by their instrumental skills and spot-on harmonies, Carlile became an instant fan of the Fighting Machinists, and when the group broke up, she persuaded the Hanseroth twins to form a group with her. While they started out as an aggressive rock & roll band, Carlile's emotionally powerful songwriting and acoustic guitar work soon became the dominant component of their sound, and they began touring regularly, headlining small venues and opening shows for Dave Matthews, Shawn Colvin, and India.Arie. In 2000, Carlile recorded the first of several self-released recordings that sold briskly at shows, and in 2005 she was signed to Columbia Records,
releasing a self-titled album later that same year. The album earned enthusiastic reviews, and Carlile was named one of 2005's "Artists to Watch" by Rolling Stone. In 2006, Carlile and her band began work on her second Columbia album, with T Bone Burnett producing. Titled The Story, it was released in spring 2007. Give Up the Ghost followed two years later in 2009.SESSION PHOTO BY ERIKA GOLDRING
THE SONG:
"Old Rugged Cross"
Brandi Carlile & The Preservation Hall Jazz Band
(Traditional)
Brandi Carlile - lead vocals
Tim & Phil Hanseroth - backing vocals
Mark Braud - trumpet
Clint Maedgen - clarinet
Daniel "Weenie" Farrow - tenor sax
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Walter Payton - string bass
Rickie Monie - piano
Ben Jaffe - tuba
Joe Lastie - drums
Brandi Carlile appears courtesy of Columbia Records
AS INTERPRETED BY GEORGE LEWIS (1962):
"DREAMS," BY BRANDI CARLILE, LIVE IN STUDIO Q:
BRANDI CARLILE - OFFICIAL WEBSITE
PRESERVATION HALL - OFFICIAL WEBSITE
LEARN MORE ABOUT "PRESERVATION"
"Old Rugged Cross"
Brandi Carlile & The Preservation Hall Jazz Band
(Traditional)
Brandi Carlile - lead vocals
Tim & Phil Hanseroth - backing vocals
Mark Braud - trumpet
Clint Maedgen - clarinet
Daniel "Weenie" Farrow - tenor sax
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Walter Payton - string bass
Rickie Monie - piano
Ben Jaffe - tuba
Joe Lastie - drums
Brandi Carlile appears courtesy of Columbia Records
AS INTERPRETED BY GEORGE LEWIS (1962):
"DREAMS," BY BRANDI CARLILE, LIVE IN STUDIO Q:
BRANDI CARLILE - OFFICIAL WEBSITE
PRESERVATION HALL - OFFICIAL WEBSITE
LEARN MORE ABOUT "PRESERVATION"
Tuesday, February 2, 2010
"PRESERVATION" Preview #14: Joining the Preservation Hall Jazz Band on their Upcoming Release - MS. ANI DIFRANCO!
February 16, 2010 - PRESERVATION: an album benefiting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
Ani DiFranco has written hundreds of songs, played thousands of shows, captured the imaginations of legions of followers, and jammed with folkies, orchestras, rappers, rock and roll hall-of-famers, jazz musicians, poets, pop superstars, storytellers and a martial arts legend. She’s “fixed up a few old buildings” and minimized her carbon footprint before it was trendy – from installing a geothermal heating and cooling system in the renovated church that her label calls home to using organic inks on all the t-shirts she sells. But nothing she’s done in her 18-year career has garnered more attention than a business decision.
Since Ani bucked the major label system in the early-‘90s, opting to release her music on her own terms, the self-described Little Folksinger has been the subject of all kinds of hyperbole. She’s been called “fiercely independent” (Rolling Stone), “inspirational” (All Music Guide), “the ultimate do-it-yourself songwriter” (The New York Times), etc. As the cracks in the music industry get larger and more big-name artists follow Ani’s lead – Radiohead, Madonna and Nine Inch Nails among them – maybe people will just start calling her “smart.”
As important as Righteous Babe Records is to the singer/songwriter/guitarist, she’s more than happy to trust like-minded people with the business and revel in the complete artistic freedom it provides. On her new album, Red Letter Year, she takes more advantage of this freedom than ever before. Conceived, sculpted
and refined over the course of two years – a lifetime compared to a typical Ani recording session – the album is an impeccably crafted, multi-layered sonic achievement.
And while the extra time is a big reason for Red Letter Year’s captivating musical depths, the people in Ani’s life play an even bigger part – her partner and co-producer Mike Napolitano (Joseph Arthur, The Twilight Singers, Squirrel Nut Zippers) and her one-year-old daughter Petah Lucia (gurgling, infectious laughter, wide-eyed innocence). Love, family and home are three of the album’s most prominent muses, resulting in a dozen songs that exude warmth and renewed vigor.
Ani DiFranco has written hundreds of songs, played thousands of shows, captured the imaginations of legions of followers, and jammed with folkies, orchestras, rappers, rock and roll hall-of-famers, jazz musicians, poets, pop superstars, storytellers and a martial arts legend. She’s “fixed up a few old buildings” and minimized her carbon footprint before it was trendy – from installing a geothermal heating and cooling system in the renovated church that her label calls home to using organic inks on all the t-shirts she sells. But nothing she’s done in her 18-year career has garnered more attention than a business decision.
Since Ani bucked the major label system in the early-‘90s, opting to release her music on her own terms, the self-described Little Folksinger has been the subject of all kinds of hyperbole. She’s been called “fiercely independent” (Rolling Stone), “inspirational” (All Music Guide), “the ultimate do-it-yourself songwriter” (The New York Times), etc. As the cracks in the music industry get larger and more big-name artists follow Ani’s lead – Radiohead, Madonna and Nine Inch Nails among them – maybe people will just start calling her “smart.”As important as Righteous Babe Records is to the singer/songwriter/guitarist, she’s more than happy to trust like-minded people with the business and revel in the complete artistic freedom it provides. On her new album, Red Letter Year, she takes more advantage of this freedom than ever before. Conceived, sculpted
and refined over the course of two years – a lifetime compared to a typical Ani recording session – the album is an impeccably crafted, multi-layered sonic achievement.And while the extra time is a big reason for Red Letter Year’s captivating musical depths, the people in Ani’s life play an even bigger part – her partner and co-producer Mike Napolitano (Joseph Arthur, The Twilight Singers, Squirrel Nut Zippers) and her one-year-old daughter Petah Lucia (gurgling, infectious laughter, wide-eyed innocence). Love, family and home are three of the album’s most prominent muses, resulting in a dozen songs that exude warmth and renewed vigor.
For several years to come, musicians will be making headlines as they jump the major label ship and take charge of their own destinies. Having been there and done that, Ani DiFranco will be more than happy to just sit back and make art.
SESSION PHOTOS BY ERIKA GOLDRING
THE SONG:
"Freight Train"
Ani DiFranco & The Preservation Hall Jazz Band
(Turner Layton/Henry Creamer) Morley Music Co. (public domain)
Ani DiFranco - vocals, guitar
Mark Braud - trumpet
Charlie Gabriel - clarinet
Clint Maedgen - tenor sax
Lucien Barbarin - trombone
Carl LeBlanc - string bass
Joe Lastie - drums
Ben Jaffe - tuba
Ani DiFranco appears courtesy of Righteous Babe Records
AS PERFORMED BY ELIZABETH COTTON:
"SHY" by ANI DIFRANCO:
ANI'S OFFICIAL WEBSITE
LEARN MORE ABOUT "PRESERVATION!"
SESSION PHOTOS BY ERIKA GOLDRINGTHE SONG:
"Freight Train"
Ani DiFranco & The Preservation Hall Jazz Band
(Turner Layton/Henry Creamer) Morley Music Co. (public domain)
Ani DiFranco - vocals, guitar
Mark Braud - trumpet
Charlie Gabriel - clarinet
Clint Maedgen - tenor sax
Lucien Barbarin - trombone
Carl LeBlanc - string bass
Joe Lastie - drums
Ben Jaffe - tuba
Ani DiFranco appears courtesy of Righteous Babe Records
AS PERFORMED BY ELIZABETH COTTON:
"SHY" by ANI DIFRANCO:
ANI'S OFFICIAL WEBSITE
LEARN MORE ABOUT "PRESERVATION!"
Thursday, January 28, 2010
"PRESERVATION" Preview #13: Joining the Preservation Hall Jazz Band on their Upcoming Release - MR. TOM WAITS
February 16, 2010 - PRESERVATION: an album benefiting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
TOM WAITS
Tom Waits has built a career as varied as there are creative outlets—delving into cinema (both composing and acting), musical theater, opera, live performance, and literature—yet seamlessly interweaving a truly distinctive and fully-realized persona. The tools of his trade have included such things as the marimba, trombone, brake drum, metal aunglongs, banjo, bell plate, bullhorn, conga, accordion, optigon, mellotron, maracas, pump organ, basstarda, chamberlain, harmonium, viola, sticks, chairs, a musical saw, as well as the regular old guitar, bass, piano and drums and, of course, that trademark voice.
In a career that has spanned four decades, his music has taken adventurous turns, from confessional country-blues and jazz-flavored lounge, to primal rock and avant-garde musical theater. By turns tender and poignant, to strange and twisted, his songs tend to explore the dark, underbelly of society as he gives his uniquely human voice to adventurers both romantic and mercenary, drifters, con artists and those forgotten characters on the fringe and in the fray. Waits has expanded and drawn from a deep well of American song idioms: folk, blues, country, jazz ballads, polkas, waltzes, cabaret, swing, popular ballads, and a category that can only be described as Waitsian.
Named as one of VH-1’s “Most Influential Artists of All Time” it is no surprise that Waits’ body of work has long been covered (and coveted) by other musicians. Notable cover versions include: Bruce Springsteen (“Jersey Girl”), Rod Stewart and Everything But The Girl (“Downtown Train”), Marianne Faithfull (“Strange Weather”), The Ramones (“I Don’t Wanna Grow Up”), 10,000 Maniacs (“I Hope That I Don’t Fall In Love With You”), Bob Seger (“Blind Love”), Shawn Colvin (“The Heart Of Saturday Night”), plus Elvis Costello, The Blind Boys of Alabama, Johnny Cash, and many others. A diverse list of artists have cited Tom Waits as an inspiration, including Bob Dylan who has named him one of his “secret heroes.” And the adoration strikes a chord with a rabid fan following—there is even an annual celebration called “Waitstock” near Poughkeepsie, New York.
For more than 30 years now, Tom Waits has been creating music. He continues to inspire new generations of songwriters who have their own story to tell…and their own dark muse to follow.
SESSION PHOTOS BY CLINT MAEDGEN AND J. LLOYD MILLER
THE SONG:
"Tootie Ma Is A Big Fine Thing"
Tom Waits with The Preservation Hall Jazz Band
(traditional)
Tom Waits - vocals
Mark Braud - trumpet
Charlie Gabriel - clarinet
Clint Maedgen - tenor sax
Lucien Barbarin - trombone
Rickie Monie - piano
Carl LeBlanc - banjo
Walter Payton - string bass
Ben Jaffe - tuba
Ernie Elly - drums
ANOTHER RECENT INTERPRETATION,
BY MEDESKI, SCOFIELD, MARTIN & WOOD:
"LIE TO ME" BY TOM WAITS - OFFICIAL VIDEO:
TOM WAITSTom Waits has built a career as varied as there are creative outlets—delving into cinema (both composing and acting), musical theater, opera, live performance, and literature—yet seamlessly interweaving a truly distinctive and fully-realized persona. The tools of his trade have included such things as the marimba, trombone, brake drum, metal aunglongs, banjo, bell plate, bullhorn, conga, accordion, optigon, mellotron, maracas, pump organ, basstarda, chamberlain, harmonium, viola, sticks, chairs, a musical saw, as well as the regular old guitar, bass, piano and drums and, of course, that trademark voice.
In a career that has spanned four decades, his music has taken adventurous turns, from confessional country-blues and jazz-flavored lounge, to primal rock and avant-garde musical theater. By turns tender and poignant, to strange and twisted, his songs tend to explore the dark, underbelly of society as he gives his uniquely human voice to adventurers both romantic and mercenary, drifters, con artists and those forgotten characters on the fringe and in the fray. Waits has expanded and drawn from a deep well of American song idioms: folk, blues, country, jazz ballads, polkas, waltzes, cabaret, swing, popular ballads, and a category that can only be described as Waitsian.
Named as one of VH-1’s “Most Influential Artists of All Time” it is no surprise that Waits’ body of work has long been covered (and coveted) by other musicians. Notable cover versions include: Bruce Springsteen (“Jersey Girl”), Rod Stewart and Everything But The Girl (“Downtown Train”), Marianne Faithfull (“Strange Weather”), The Ramones (“I Don’t Wanna Grow Up”), 10,000 Maniacs (“I Hope That I Don’t Fall In Love With You”), Bob Seger (“Blind Love”), Shawn Colvin (“The Heart Of Saturday Night”), plus Elvis Costello, The Blind Boys of Alabama, Johnny Cash, and many others. A diverse list of artists have cited Tom Waits as an inspiration, including Bob Dylan who has named him one of his “secret heroes.” And the adoration strikes a chord with a rabid fan following—there is even an annual celebration called “Waitstock” near Poughkeepsie, New York.For more than 30 years now, Tom Waits has been creating music. He continues to inspire new generations of songwriters who have their own story to tell…and their own dark muse to follow.
SESSION PHOTOS BY CLINT MAEDGEN AND J. LLOYD MILLERTHE SONG:
"Tootie Ma Is A Big Fine Thing"
Tom Waits with The Preservation Hall Jazz Band
(traditional)
Tom Waits - vocals
Mark Braud - trumpet
Charlie Gabriel - clarinet
Clint Maedgen - tenor sax
Lucien Barbarin - trombone
Rickie Monie - piano
Carl LeBlanc - banjo
Walter Payton - string bass
Ben Jaffe - tuba
Ernie Elly - drums
ANOTHER RECENT INTERPRETATION,
BY MEDESKI, SCOFIELD, MARTIN & WOOD:
"LIE TO ME" BY TOM WAITS - OFFICIAL VIDEO:
Thursday, January 14, 2010
"PRESERVATION" Preview #9: Appearing with the Preservation Hall Jazz Band - MR. PETE SEEGER & MR. TAO RODRIGUEZ-SEEGER
February 16, 2010 - PRESERVATION: an album benefiting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
PETE SEEGER
by Zac Johnson for Allmusic.com
Perhaps no single person in the 20th century has done more to preserve, broadcast, and re-distribute folk music than Pete Seeger, whose passion for politics, the environment, and humanity have earned him both ardent fans and vocal enemies since he first began performing in the late '30s. His never-ending battle against injustice led to his being blacklisted during the McCarthy era, celebrated during the turbulent '60s, and welcomed at union rallies throughout his life. His tireless efforts regarding global concerns such as environmentalism, population growth, and racial equality have earned him the respect and friendship of such political heroes as Martin Luther King, Jr., Woody Guthrie, and Cesar Chavez, and the generations of children who first learned to sing and clap to Seeger's Folkways recordings must number in the millions. Rising above all of Seeger's political ideals and his passion for authentic folk music is his clear voice and chiming banjo which both sing out with a clarity that rings true...
PETE SEEGERby Zac Johnson for Allmusic.com
Perhaps no single person in the 20th century has done more to preserve, broadcast, and re-distribute folk music than Pete Seeger, whose passion for politics, the environment, and humanity have earned him both ardent fans and vocal enemies since he first began performing in the late '30s. His never-ending battle against injustice led to his being blacklisted during the McCarthy era, celebrated during the turbulent '60s, and welcomed at union rallies throughout his life. His tireless efforts regarding global concerns such as environmentalism, population growth, and racial equality have earned him the respect and friendship of such political heroes as Martin Luther King, Jr., Woody Guthrie, and Cesar Chavez, and the generations of children who first learned to sing and clap to Seeger's Folkways recordings must number in the millions. Rising above all of Seeger's political ideals and his passion for authentic folk music is his clear voice and chiming banjo which both sing out with a clarity that rings true...
READ MORE
TAO RODRIGUEZ-SEEGER
From Wikipedia.org
Tao Rodríguez-Seeger (b. Poughkeepsie, New York, 1972) is an American contemporary folk musician. He plays banjo, guitar, harmonica, and sings in Spanish and in English. He is known as a founder of The Mammals and is the grandson of legendary folk musician Pete Seeger. Tao spent nine years of his childhood in Nicaragua. Tao's father, Emilio Rodríguez, a Puerto Rican filmmaker, was invited by the Sandinistas to document the nation's civil war. Tao's mother is Mika Seeger. When he was fourteen, in 1986, Rodríguez-Seeger started performing with his grandfather Pete Seeger. In 1999 he was a member of the band RIG, with Sarah Lee Guthrie and Johnny Irion. In 2001 he was a founding member of the Mammals with Michael Merenda and Ruth Ungar. In 2006 he recorded an album, Que Vaya Bien, with Puerto Rican folk singers Roy Brown, and Tito Auger of the Puerto Rican rock band Fiel A La Vega and he formed the Anarchist Orchestra (now known as the Tao Rodriguez-Seeger band) with Jacob Silver, also of the Mammals, Laura Cortese and Robin McMillan.
On Sunday, May 3rd, 2009, the Preservation Hall Jazz Band had the great honor of joining an all-star roster at Madison Square Garden to celebrate the life and legacy of Pete Seeger at a benefit for the Clearwater Foundation thrown in honor of this amazing man's 90th birthday. You can find links to coverage of this amazing event HERE.
SESSION PHOTOS BY SHANNON BRINKMAN
THE SONG:
"Blue Skies"
Pete Seeger & Tao Rodriguez-Seeger with
the Preservation Hall Jazz Band
(Irving Berlin) Irving Berlin Music Company
Pete Seeger - vocals, banjo
Tao Rodriguez-Seeger - vocals
Michael Merenda, Ruth Ungar - backing vocals
Jacob Silver - string bass
Leon "Kid Chocolate" Brown - trumpet
Charlie Gabriel - clarinet
Daniel "Weenie" Farrow - tenor sax
Maynard Chatters - trombone
Carl LeBlanc - banjo
Ben Jaffe - tuba
Ernie Elly - drums
Check out this footage from the recording session!
PETE SEEGER APPRECIATION PAGE
TAO RODRIGUEZ-SEEGER - OFFICIAL WEBSITE
HUDSON RIVER SLOOP CLEARWATER
LEARN MORE ABOUT "PRESERVATION"
From Wikipedia.org
Tao Rodríguez-Seeger (b. Poughkeepsie, New York, 1972) is an American contemporary folk musician. He plays banjo, guitar, harmonica, and sings in Spanish and in English. He is known as a founder of The Mammals and is the grandson of legendary folk musician Pete Seeger. Tao spent nine years of his childhood in Nicaragua. Tao's father, Emilio Rodríguez, a Puerto Rican filmmaker, was invited by the Sandinistas to document the nation's civil war. Tao's mother is Mika Seeger. When he was fourteen, in 1986, Rodríguez-Seeger started performing with his grandfather Pete Seeger. In 1999 he was a member of the band RIG, with Sarah Lee Guthrie and Johnny Irion. In 2001 he was a founding member of the Mammals with Michael Merenda and Ruth Ungar. In 2006 he recorded an album, Que Vaya Bien, with Puerto Rican folk singers Roy Brown, and Tito Auger of the Puerto Rican rock band Fiel A La Vega and he formed the Anarchist Orchestra (now known as the Tao Rodriguez-Seeger band) with Jacob Silver, also of the Mammals, Laura Cortese and Robin McMillan.
On Sunday, May 3rd, 2009, the Preservation Hall Jazz Band had the great honor of joining an all-star roster at Madison Square Garden to celebrate the life and legacy of Pete Seeger at a benefit for the Clearwater Foundation thrown in honor of this amazing man's 90th birthday. You can find links to coverage of this amazing event HERE.
SESSION PHOTOS BY SHANNON BRINKMANTHE SONG:
"Blue Skies"
Pete Seeger & Tao Rodriguez-Seeger with
the Preservation Hall Jazz Band
(Irving Berlin) Irving Berlin Music Company
Pete Seeger - vocals, banjo
Tao Rodriguez-Seeger - vocals
Michael Merenda, Ruth Ungar - backing vocals
Jacob Silver - string bass
Leon "Kid Chocolate" Brown - trumpet
Charlie Gabriel - clarinet
Daniel "Weenie" Farrow - tenor sax
Maynard Chatters - trombone
Carl LeBlanc - banjo
Ben Jaffe - tuba
Ernie Elly - drums
Check out this footage from the recording session!
PETE SEEGER APPRECIATION PAGE
TAO RODRIGUEZ-SEEGER - OFFICIAL WEBSITE
HUDSON RIVER SLOOP CLEARWATER
LEARN MORE ABOUT "PRESERVATION"
Wednesday, January 6, 2010
"PRESERVATION" Preview #7: Appearing with the Preservation Hall Jazz Band - MR. PAOLO NUTINI
February 16, 2010 - PRESERVATION: an album benefiting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
In much the same way that José González hails from Sweden and not Spain, Paolo Nutini is not a smooth Italian pop star, but rather a soul-influenced adult alternative songwriter from Paisley, Scotland. Raised in a music-loving family, he grew up listening to a range of folk, opera, jazz, and his father's R&B favorites. Shortly after discovering homegrown folkies like John Martyn, the teenaged Nutini left school to focus on his own musical development, eventually moving from Paisley to London at age 16 and garnering attention via local gigs. He inked a deal with the British arm of Atlantic Records two years later, just several weeks after his 18th birthday.
Working with Coldplay and Badly Drawn
Boy producer Ken Nelson, Nutini generated an impressive amount of buzz before his first single, "Last Request," was released in the early summer of 2006. He appeared at special Atlantic Records showcases at Carnegie Hall and the Montreux Jazz Festival, as well as showcase sets opening for the Rolling Stones and Paul Weller. Nutini's debut album, These Streets, was ultimately released in July 2006 alongside his second single, "Jenny Don't Be Hasty." The album fared quite well in the U.K., where it climbed to double-platinum status and sent four singles into the Top 40. Accordingly, an American release followed in January 2007.
For Paolo Nutini's second album, the songwriter took a more active role in the production, partnering with Ethan Johns but helming much of the material himself. The resulting record, Sunny Side Up, appeared in June 2009, featuring increased contributions from Nutini's backing band and a bright, sprightly disposition.
PHOTOS OF PAOLO NUTINI @ PRESERVATION HALL
BY MARY ASHLEY JOHNSON
In much the same way that José González hails from Sweden and not Spain, Paolo Nutini is not a smooth Italian pop star, but rather a soul-influenced adult alternative songwriter from Paisley, Scotland. Raised in a music-loving family, he grew up listening to a range of folk, opera, jazz, and his father's R&B favorites. Shortly after discovering homegrown folkies like John Martyn, the teenaged Nutini left school to focus on his own musical development, eventually moving from Paisley to London at age 16 and garnering attention via local gigs. He inked a deal with the British arm of Atlantic Records two years later, just several weeks after his 18th birthday.
Working with Coldplay and Badly Drawn
Boy producer Ken Nelson, Nutini generated an impressive amount of buzz before his first single, "Last Request," was released in the early summer of 2006. He appeared at special Atlantic Records showcases at Carnegie Hall and the Montreux Jazz Festival, as well as showcase sets opening for the Rolling Stones and Paul Weller. Nutini's debut album, These Streets, was ultimately released in July 2006 alongside his second single, "Jenny Don't Be Hasty." The album fared quite well in the U.K., where it climbed to double-platinum status and sent four singles into the Top 40. Accordingly, an American release followed in January 2007.For Paolo Nutini's second album, the songwriter took a more active role in the production, partnering with Ethan Johns but helming much of the material himself. The resulting record, Sunny Side Up, appeared in June 2009, featuring increased contributions from Nutini's backing band and a bright, sprightly disposition.PHOTOS OF PAOLO NUTINI @ PRESERVATION HALLBY MARY ASHLEY JOHNSON
THE SONG:
"Between The Devil and The Deep Blue Sea"
Paolo Nutini with The Preservation Hall Jazz Band
(Harold Arlen / Ted Koehler) S.A. Music, Bughouse Music
Paolo Nutini - vocals
Mark Braud - trumpet
Charlie Gabriel - clarinet
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Rickie Monie - piano
Ben Jaffe - tuba
Walter Payton - string bass
Lil' Joe Lastie - drums
Paolo Nutini appears courtesy of Atlantic Records
"Between The Devil and The Deep Blue Sea"
Paolo Nutini with The Preservation Hall Jazz Band
(Harold Arlen / Ted Koehler) S.A. Music, Bughouse Music
Paolo Nutini - vocals
Mark Braud - trumpet
Charlie Gabriel - clarinet
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Rickie Monie - piano
Ben Jaffe - tuba
Walter Payton - string bass
Lil' Joe Lastie - drums
Paolo Nutini appears courtesy of Atlantic Records
AS PERFORMED BY LEE WILEY IN 1940:
OFFICIAL VIDEO FOR "PENCIL FULL OF LEAD" BY PAOLO NUTINI (CHEEKY!)
PAOLO NUTINI - OFFICIAL WEBSITE
PRESERVATION HALL JAZZ BAND - OFFICIAL WEBSITE
LEARN MORE ABOUT "PRESERVATION" THE ALBUM
OFFICIAL VIDEO FOR "PENCIL FULL OF LEAD" BY PAOLO NUTINI (CHEEKY!)
PAOLO NUTINI - OFFICIAL WEBSITE
PRESERVATION HALL JAZZ BAND - OFFICIAL WEBSITE
LEARN MORE ABOUT "PRESERVATION" THE ALBUM
Monday, January 4, 2010
"PRESERVATION" Preview #6: Appearing with the Preservation Hall Jazz Band - MS. ANGELIQUE KIDJO & MR. TERENCE BLANCHARD
February 16, 2010 - PRESERVATION: an album benefitting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
EXPERIENCE HER STORY HERE
Born in Benin (West Africa), Angelique Kidjo is a Grammy award-winning music recording artist deemed "Africa's premier diva" by Time Magazine. Kidjo's internationally acclaimed repertoire includes collaborations with various recording artists such as Carlos Santana, Peter Gabriel, Alicia Keys, Josh Groban, Branford Marsalis, Joss Stone, and many more. Known for her dynamic and uplifting music, she has translated her distinctive work in the arts to that of philanthropy; by promoting education for girls in Africa through her foundation, Batonga and as a UNICEF Goodwill ambassador Kidjo travels the world to inspire and empower.
EXPERIENCE HER STORY HERE
TERENCE BLANCHARD
By Michael G. Nastos
for Allmusic.com
In the post-Wynton Marsalis era, jazz trumpeter Terence Blanchard has become a most prominent brass player, bandleader, recording artist, orchestrator of film scores, and leader in the mainstream post-bop community. Born on March 13, 1962, in New Orleans, LA, Terence Oliver Blanchard was an only child to parents Wilhelmina and Joseph Oliver Blanchard. He began playing piano by the age of five, switched to trumpet three years later, and played alongside childhood friend Marsalis in summer band camps. While in high school, he took extracurricular classes at the New Orleans Center for Creative Arts with Roger Dickerson and Ellis Marsalis. From 1980 to 1982, Blanchard studied under Paul Jeffrey and Bill Fielder at Rutgers University in New Jersey while touring with Lionel Hampton's orchestra. In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey's Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Little ensemble...
By Michael G. Nastos
for Allmusic.com
In the post-Wynton Marsalis era, jazz trumpeter Terence Blanchard has become a most prominent brass player, bandleader, recording artist, orchestrator of film scores, and leader in the mainstream post-bop community. Born on March 13, 1962, in New Orleans, LA, Terence Oliver Blanchard was an only child to parents Wilhelmina and Joseph Oliver Blanchard. He began playing piano by the age of five, switched to trumpet three years later, and played alongside childhood friend Marsalis in summer band camps. While in high school, he took extracurricular classes at the New Orleans Center for Creative Arts with Roger Dickerson and Ellis Marsalis. From 1980 to 1982, Blanchard studied under Paul Jeffrey and Bill Fielder at Rutgers University in New Jersey while touring with Lionel Hampton's orchestra. In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey's Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Little ensemble...
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The Song:
"La Vie en Rose"
Angelique Kidjo & Terence Blanchard
with The Preservation Hall Jazz Band
(Edith Guglieme, Luis Gugielmo, Giovanna Gasson)
WB Music Corp. obo Editions, Paul Beuscher SA
Angelique Kidjo - vocals
Terence Blanchard - lead trumpet
Mark Braud - trumpet
Clint Maedgen - clarinet
Daniel "Weenie" Farrow - tenor sax
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Rickie Monie - piano
Walter Payton - string bass
Joe Lastie - drums
Angelique Kidjo appears courtesy of Razor & Tie
Terence Blanchard appears courtesy of Concord Records
EDITH PIAF PERFORMS "LA VIE EN ROSE"
ANGELIQUE KIDJO - WOMBO LOMBO
TERENCE BLANCHARD - CHOICES (Webisode 5)
"La Vie en Rose"
Angelique Kidjo & Terence Blanchard
with The Preservation Hall Jazz Band
(Edith Guglieme, Luis Gugielmo, Giovanna Gasson)
WB Music Corp. obo Editions, Paul Beuscher SA
Angelique Kidjo - vocals
Terence Blanchard - lead trumpet
Mark Braud - trumpet
Clint Maedgen - clarinet
Daniel "Weenie" Farrow - tenor sax
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Rickie Monie - piano
Walter Payton - string bass
Joe Lastie - drums
Angelique Kidjo appears courtesy of Razor & Tie
Terence Blanchard appears courtesy of Concord Records
EDITH PIAF PERFORMS "LA VIE EN ROSE"
ANGELIQUE KIDJO - WOMBO LOMBO
TERENCE BLANCHARD - CHOICES (Webisode 5)
Thursday, December 31, 2009
"PRESERVATION" Preview #5: Appearing with the Preservation Hall Jazz Band - MS. AMY LAVERE
February 16, 2010 - PRESERVATION: an album benefitting Preservation Hall & The Preservation Hall Music Outreach Program hits the streets! (Best Mardi Gras Ever?) While we wait with baited breath, we share with you these previews of the 19 amazing tracks and special guests that make this latest offering from the Preservation Hall Jazz Band so very special. In this installment...
While Amy LaVere's voice may have the high, breathy tone of a young girl, she brings to her music the emotional peaks and valleys of a grown woman who has certainly seen her share of the world, and it's hard not to believe that her adventurous life has informed her work. LaVere was born in a small town near the border of Texas and Louisiana to parents who were part-time musicians. Her family's nomadic life led LaVere to live in 13 different places before she finished high school, and when her folks finally settled in Detroit, she rejected the classic country sounds they doted on -- Johnny Cash, Dolly Parton, and Willie Nelson were their favorites -- in favor of punk rock. LaVere played drums and sang in a Motor City punk band called Last Minute, but after graduating she grew restless and headed back to Louisiana, which turned out to be a brief stop on the way to a job in Nashville, working for a music management company. After settling in Nashville, LaVere met Gabe Kudela, who played with the barnstorming country-punk band the Legendary Shack Shakers. After a brief romance, LaVere and Kudela wed, and after she learned to play upright bass, the couple began playing nightclubs on Nashville's Lower Broadway as part of a group they called the Gabe & Amy Show; the band developed a loyal following in Nashville, and spawned another when they pulled up stakes and relocated to Memphis in 1999.
Although LaVere and Kudela's marriage broke up in 2003, LaVere's love of singing was stronger than ever, and she had developed a belated appreciation for classic country, blues, and jazz sounds that influenced her performing style. With the help of friends Paul Buchignani and Jason Freeman, LaVere began performing as a solo act, and after extensive gigging in the South LaVere caught the attention of Memphis-based independent label Archer Records, which released her striking debut album, This World Is Not My Home, in April of 2006. A little over a year later, LaVere's second long-player, Anchors & Anvils (produced by legendary Memphis musician and studio hand Jim Dickinson), arrived in stores. When not busy with her musical career, LaVere also dabbles in acting; she played pioneering rockabilly filly Wanda Jackson in the film Walk the Line, and later appeared in Craig Brewer's Black Snake Moan.
PHOTOS OF AMY LAVERE @ PRESERVATION HALL
BY ERIKA GOLDRING
The Song:
"Baby Won't You Please Come Home"
Amy LaVere & The Preservation Hall Jazz Band
(Charles Warfield/Clarence Williams) public domain
Amy LaVere - vocals
Mark Braud - trumpet
Clint Maedgen - clarinet
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Rickie Monie - piano
Ben Jaffe - string bass
Joe Lastie - drums
Amy LaVere appears courtesy of Archer Records
While Amy LaVere's voice may have the high, breathy tone of a young girl, she brings to her music the emotional peaks and valleys of a grown woman who has certainly seen her share of the world, and it's hard not to believe that her adventurous life has informed her work. LaVere was born in a small town near the border of Texas and Louisiana to parents who were part-time musicians. Her family's nomadic life led LaVere to live in 13 different places before she finished high school, and when her folks finally settled in Detroit, she rejected the classic country sounds they doted on -- Johnny Cash, Dolly Parton, and Willie Nelson were their favorites -- in favor of punk rock. LaVere played drums and sang in a Motor City punk band called Last Minute, but after graduating she grew restless and headed back to Louisiana, which turned out to be a brief stop on the way to a job in Nashville, working for a music management company. After settling in Nashville, LaVere met Gabe Kudela, who played with the barnstorming country-punk band the Legendary Shack Shakers. After a brief romance, LaVere and Kudela wed, and after she learned to play upright bass, the couple began playing nightclubs on Nashville's Lower Broadway as part of a group they called the Gabe & Amy Show; the band developed a loyal following in Nashville, and spawned another when they pulled up stakes and relocated to Memphis in 1999.
Although LaVere and Kudela's marriage broke up in 2003, LaVere's love of singing was stronger than ever, and she had developed a belated appreciation for classic country, blues, and jazz sounds that influenced her performing style. With the help of friends Paul Buchignani and Jason Freeman, LaVere began performing as a solo act, and after extensive gigging in the South LaVere caught the attention of Memphis-based independent label Archer Records, which released her striking debut album, This World Is Not My Home, in April of 2006. A little over a year later, LaVere's second long-player, Anchors & Anvils (produced by legendary Memphis musician and studio hand Jim Dickinson), arrived in stores. When not busy with her musical career, LaVere also dabbles in acting; she played pioneering rockabilly filly Wanda Jackson in the film Walk the Line, and later appeared in Craig Brewer's Black Snake Moan.
PHOTOS OF AMY LAVERE @ PRESERVATION HALLBY ERIKA GOLDRING
The Song:
"Baby Won't You Please Come Home"
Amy LaVere & The Preservation Hall Jazz Band
(Charles Warfield/Clarence Williams) public domain
Amy LaVere - vocals
Mark Braud - trumpet
Clint Maedgen - clarinet
Lucien Barbarin - trombone
Carl LeBlanc - banjo
Rickie Monie - piano
Ben Jaffe - string bass
Joe Lastie - drums
Amy LaVere appears courtesy of Archer Records
...as performed by BESSIE SMITH (1923):
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