Thursday, September 22, 2011

BRANFORD MARSALIS Performs at YOSHI'S San Fransisco


An Evening With BRANFORD MARSALIS

Sep 21-Sep 25, 2011



An evening with one of the most innovative and forward-thinking jazz ensembles today

Phone: 415.655.5600Phone: 415.655.5600

  • Wednesday: 8pm $30, 10pm $20 
  • Thursday & Friday: 8pm $40, 10pm $30
  • Saturday: 8pm & 10pm $40
  • Sunday: 7pm $40, 9pm $30
       
Branford Marsalis
NEA Jazz Master, renowned Grammy Award®-winning saxophonist and Tony Award® nominee composer Branford Marsalis is one of the most revered instrumentalists of his time. The three-time Grammy Award® winner has continued to exercise and expand his skills as an instrumentalist, a composer, and the head of Marsalis Music, the label he founded in 2002 that has allowed him to produce both his own projects and those of the jazz world’s most promising new and established artists.

Marsalis made his Broadway debut as the composer of original music for the Tony Award® winning Broadway revival of August Wilson’s play “Fences”. Marsalis received a Tony nomination in the category of “Best Original Score (Music and/or Lyrics) Written for the Theatre” and a 2010 Drama Desk Award® for “Outstanding Music in a Play” for his participation.

Leader of one of the finest jazz Quartets today, and a frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with such acclaimed orchestras as the Chicago, Detroit, Düsseldorf, and North Carolina Symphonies and the Boston Pops, with a growing repertoire that includes compositions by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem and Vaughn Williams. His propensity for innovative and forward-thinking compels him to seek new and challenging works by modern classical composers such as modern Scottish composer Sally Beamish who, after hearing Branford perform her composition “The Imagined Sound of Sun on Stone” at the 2006 North Sea Jazz Festival, was inspired to re-conceive a piece in progress, “Under the Wing of the Rock,” which he premiered as part of the Celtic Connections festival Beamish’s home country of Scotland in January 2009.

Making his first appearance with the New York Philharmonic in the summer of 2010, Marsalis was again invited to join them as soloist in their 2010-2011 concert series where he unequivocally demonstrated his versatility and prowess, bringing “a gracious poise and supple tone… and an insouciant swagger” (New York Times) to the repertoire.

In 2011, the National Endowment for the Arts conferred the prestigious Jazz Masters Fellowship on the Marsalis Family, a celebration and acknowledgement of a family described by the New York Times as “jazz’s most storied living dynasty”, who have made an indelible mark, collectively and individually, on the history and the future of jazz, America’s art form.
Songs of Mirth and Melancholy
On Songs, the mutual admiration between Marsalis and Calderazzo is expressed through music that is the result of close listening, cooperation, and continuous adjustment to one another’s musical ideas. Branford says,“The duo is more like classical chamber music. You have to listen to each other or it doesn’t work.” Joey adds that they challenge each other to step up their playing; “I put myself out there now, painting myself into corners to see if I can figure out the puzzle.” The musicians both treat the duo performance as an opportunity for something completely unique from their performances together in the Branford Marsalis Quartet.“… the object is not to play in the same way that you play in other situations. You have to change the conversation as well as the setting. Once you know the form, you can just react to each other, which you can’t do when a group gets larger.”

Songs includes three original compositions from Marsalis, four from Calderazzo, a cover of a Wayne Shorter’s “Face on the Barroom Floor,” and Brahms’s “Die Trauernde,” which Marsalis identifies as “the inspiration for how we approach everything as a duo.” Marsalis and Calderazzo recorded Songsclose to home at Durham, North Carolina’s Hayti Center. Marsalis describes the room as having qualities that “studios and concert halls pay millions to achieve. The sound is incredibly intimate,and very naked.”

The same could be said of the sounds that Branford Marsalis and Joey Calderazzo have brought forth on Songs of Mirth and Melancholy. Neighbors, golf buddies,teaching colleagues, longtime band members and friends, Marsalis and Calderazzo share with their listeners a passionate and profound duo collection.

Whether on the stage, in the recording studio, in the classroom or in the community, Branford Marsalis embodies a commitment to musical excellence and a determination to keep music at the forefront.
Yoshi's San Francisco is located at 1330 Fillmore at Eddy on the ground floor of the Fillmore Heritage Center. Yoshi's is on the ground floor on the front side of the building. Valet parking or self parking is available in the garage directly beneath the building. Garage entrance is on Eddy 

Phone: 415.655.5600

Wednesday, September 7, 2011

Q&A with Saxophonist Ranzel Merritt, Jr. By Shelah Moody


Q&A with Saxophonist Ranzel Merritt, Jr.
By Shelah Moody

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            Saxophonist Ranzel Merritt, Jr. epitomizes the word “prodigy.” Watching him perform Charlie Parker’s “Billie’s Bounce” on YouTube, you can see that this 18-year-old is already an accomplished musician, giving artists such as Branford Marsalis and Kenny Garrett a run for their money. Merritt comes by his talent honest; his father, Ranzel Merritt, Sr., is a renowned jazz drummer who has played and toured with Pharaoh Saunders, the David Murray, Last Poets and Ed Kelly among others.
            The Ranzel Merritt, Jr., recently graduated from the Oakland School for the Arts. During this year’s AfroSolo performance, Merritt will lead his own band of talented young musicians, including Omree Gal-Oz (piano) Chris Jefferies (standing bass) and Malachi Whitson (drums). This summer, Merritt performed at an outdoor concert for peace as part of the 2011 AfroSolo Arts Festival. 
 
Q: Where did your amazing talent come from? Did you demonstrate a natural ability to play before you studied music in school?
 
A: First of all, my dad is the one who inspired me to start music. Since I was a baby, I was going to his gigs and I grew up around the cats. He inspired me to pick up an instrument and start making music, but he never forced it on me, which was a good thing. I fell in love with music. I started in the fourth grade at Peralta Elementary School in Oakland. I started off on drums, but they didn’t really work for me, so I started playing the saxophone in the elementary school band. From there, in the sixth grade, I got into the Young Musicians Program at U.C. Berkeley.  That’s when I started really getting serious about my music and taking everything to another level, because I saw kids my same age who were playing really well and kicking my butt.
 
Q: My father was also a jazz musicians, and I know that we musician’s kids, grow up under unique set of circumstances.
 
A: It is definitely different than what everybody else goes through. As a musician’s kid, you learn things a lot faster. You mature a lot faster, too, because you are around the club scene a lot. You experience things that most people experience when they are adults. It’s a wonderful experience. I’m glad I have two parents in the house.
 
Q: Describe your past experience working with AfroSolo.
 
A: When I first worked with AfroSolo, I was young; I was in the ninth grade, I was young, and I had only been playing the tenor saxophone for two years. I was still getting used to the instruments. I had my brother on drums and my dad’s friend on bass. I really don’t remember who I had on piano, but it was a good gig. I enjoyed it, it was a lot of fun, the crowd was great and they had a lot of great bands that day. It was really cool, it was a wonderful experience just being on the show and having the opportunity to work with Thomas and AfroSolo. It was a big deal.
 
Q: What players do you listen to nowadays?
 
A: In terms of jazz, Kenny Garrett has definitely influenced me. I had the opportunity to play with Kenny at Yoshi’s nightclub when I was in the tenth grade. That was a great opportunity. Also James Carter, Joshua Redman-- all of the cats who came up in the 1980s and 1990s have influenced me. Definitely, the older cats like Dexter Gordon, Charlie Parker and John Coltrane. I’m definitely loving Branford Marsalis right now.
 
Q: As a young person, how do you feel that music can promote peace and unity?
 
A: Music can promote a lot of things nowadays, to tell the truth. So many people are into music such as hip hop, rap. There are so many ways that artists such as Jay-Z and Beyonce put out their music and influence a lot of people. The Last Poets are a really good example of artists who promote peace and power. Also, Common and Lupe Fiasco.  They promote some good things. People like John Coltrane promoted positive energy and good vibes, not negative stuff. As long as you are putting out positive thoughts and energy, people are definitely going to love you and pass it on.
 
Q: What are your current goals in terms of music?
 
A: First, I want to finish college. I also want to continue with my own band, doing my own pieces. I want to get my master’s degree either in New York or in L.A. at the Thelonius Monk Institute.  I want to travel around the world. I want to get signed.  I want to play other types of music. I started out playing gospel music in church. I’ve played everything, I’ve played rock, show tunes; I’ve done R&B gigs. If I can express myself like I do with jazz, I will definitely play it.