Gary Burton Makoto Ozone Virtuosic Define
Jan 31, 2018 - Flexi Pro 10 Software Free Download How To Compare 2 Files In Edit Plus Crack Free Download Software Hacker Facebook Terbaru 2017 Technical Readout 3025 Pdf Gary Burton Makoto Ozone Virtuosic Define Bluetooth Energy Sistem Drivers Linnker 1550 F Zero Gx Iso Ntsc J Acer Aspire. Mar 1, 2002 - Gary Burton/Makoto Ozone: Virtuosi jazz review by Craig Jolley, published on March 1, 2002. Find thousands reviews at All About Jazz!Missing.
Gary Burton & Makoto Ozone - Duets. What Other People Have Been Saying. “piano and vibes trading phrases of dramatic rapidity virtuoso performances” – Jazz Review “thrilling, virtuosic and unabashedly personal” – New York Times “a richly tailored tandem performance a dazzling display of varied styles and technique” – Variety “When Makoto Ozone was a student at the Berklee School of Music in 1981, he asked professor Gary Burton for private lessons. The poll-winning vibist was so impressed by the young pianist that he invited Ozone to join the Gary Burton Quartet.
Gary Burton & Makoto O-zone
Since then the pianist’s youthful facility has gained a more mature sense of phrasing, and he has become a major jazz star in Japan. Such a collaboration inevitably recalls Burton’s landmark duo recordings with Chick Corea, but Ozone has a very different touch than Corea: less Latin and percussive and more classical and fluid.
Where Corea is likely to go for the exclamatory chord, Ozone is more likely to go for the quick, smooth arpeggio. Ozone and Burton both love to run through chord changes in brisk, yet seemingly relaxed phrases which manage to touch on most of the possible notes in any harmony. These seamless, graceful lines are often extended at great length and then traded off to the comping partner. One might wish for some dirty low notes or harsh chords to offset all this dizzying lyricism, but there’s no denying the duo’s superb command of jazz romanticism.” –Geoffrey Himes, Amazon Gary Burton is easily the most influential vibraphonist of his generation and is one of the most unique jazz artists to have emerged in the last 50 years. Getting his start with George Shearing and Stan Getz, Burton has been recording under his own name for over 40 years, resulting in 6 Grammy Awards and 15 Grammy nominations, and countless awards from esteemed jazz publications. He also has a long history with the Berklee College of Music in Boston, spending 33 years at the school as instructor, Dean of Curriculum, and Executive Vice President.
Pianist Makoto Ozone taught himself to play the organ while very young, made his first television appearance at six, began performing regularly on Osaka Mainichi Broadcasting, and, after attending an Oscar Peterson concert at 12, turned his attention toward jazz piano. He moved to the United States in 1980 to study at Boston’s Berklee College of Music, and graduated at the top of his class in 1983 — the same year he gave a solo recital at Carnegie Hall and became the first Japanese musician to sign an exclusive contract with CBS. In addition to his classical performances, he has worked with Chick Corea, Paquito D’Rivera, Arturo Sandoval, Branford Marsalis, Jeff “Tain” Watts, Christian McBride, and others. 7 Time Grammy Award Winner. 2016 NEA Jazz Masters Recipient “Listening to the band’s music, it’s obvious there’s a great connection, empathy and communication, a dance that goes on.” – Downbeat “He played a pioneering role in the birth of jazz-rock.” – New York Times A popular phrase in years past was “Life Begins at 60,” but GARY BURTON—as he has done so often throughout his career—is rewriting the book on retirement. Having turned 70 in January, an age when most artists begin to solely look back, Burton forges ahead with his new Mack Avenue Records album, Guided Tour, which solidifies the reputation of his next great band, The New Gary Burton Quartet.
In addition, Burton has literally written the book on his life, saving those backward glances for his upcoming autobiography, Learning To Listen, due on Berklee Press in September 2013. His stature as the former Executive Vice President at the famed Berklee College of Music caps a three-decade life in jazz education, which coincided with his already busy career as a performer and recording artist. Known for reintroducing and expanding the technique of fourmallet playing while crafting one of the jazz world’s signature sounds, he is also celebrating the 40th anniversary of his ongoing collaboration with pianist Chick Corea (winning yet another GRAMMY® Award in 2013 for their most recent project, Hot House). And having established the first on-line courses for Berklee, Burton has recently expanded his web presence to create a course in improvisation for Coursera (the massive online education platform), which, as of two months before its launch, had already enrolled 25,000 students. 2017 marks an important year for this legendary jazz artist. Burton has announced he is retiring from his career as a touring musician, after completing his current USA tour and a tour of Japan.
Virtuosic Define
All of the performances in 2017 will all be duet concerts with his friend and collaborator of more than thirty years, pianist Makoto Ozone.
This CD features 's vibes and 's piano in ten classical duos with jazz improvisations. The two styles have never merged with more soul, spirit, or, well, virtuosity, and the material is rich and varied enough to please fans of both. It begins with one of 's most popular compositions, Le Tombeau de Couperin, which in these masterful hands sparkles as it flows, reminding listeners why 's harmonies inspired so many jazz musicians. The collection includes a thunderous prelude leavened with swing and a Latin feel, a Brazilian take on, the lush and passionate tango 'Milonga,' a gorgeous, extended medley from the opera Lakme with a familiar second part (arranged by Jay Kennedy, who worked on four of the tracks here), and a gem where it's hard to tell the original from the improvisation.
There are two beauties by, whose 1924 'Rhapsody in Blue' first collapsed the wall between jazz and classical music; and add new bluesiness to his 'Prelude No. 2' and comment brilliantly on his 'Piano Concerto in F.' On Sonata K20, they soften Scarlatti's starchy edges with sensuous Latin figures. In yet another pleasing segue - this CD is very well-paced - this is followed by a rare 'Impromptu,' all shifting, -like pastels until introduces some barrelhouse piano. The closer is 's quiet, haunting 'Something Borrowed, Something Blue,' which was inspired by the project itself. And produce a fulsome, totally satisfying sound, and their fluidity and grace are astonishing.
's extensive notes explain the selections and approach to each piece, deepening the experience. A stunning accomplishment, and highly recommended.