 Mark Portmann is a record producer and songwriter who worked with Celine Dion and Josh Groban.[1] Portman began to learn classical piano as a child, but later turned to pop music and jazz.[2] He went to the Eastman School of Music on a scholarship, studying composition, and attended theUniversity of Miami.[2] In 1988, Portman became a keyboardist in the jazz group The Rippingtons, and left the group four years later.[2] In 1997, he released a solo album under Zebra Records, titled No Truer Words.[3][4] Songs co-produced by Portmann were nominated for ASCAP Latin Music Awards in 2003 and 2010 More Info |
 Pu2ma - Few words describe Pu2ma’s vocal prowess: earthy, afro-soulful, ethno-trendy, afro-jazzy and spiritual. Since appearing at the Joburg’s performance circuit as a backing vocalist behind some of the most established and accomplished artists in the afro-soul, jazz and gospel genres, Pu2ma has commanded a presence on stage that already exhibits an artist of a particularstature, classy, with distinct artistic sophistication. Having had the opportunity of being behind the success of most leading artists in South Africa as a backing a vocalist, Pu2ma is surely going to stand the test of time. Her smooth, earthy and soulful voice with an imposing frame, which stands tall and beautiful like a lioness on the African savannahs, has been felt as far afield as the infamous jazz club (the JZ Club) in Shanghai, China, as well as locally at the most notable jazz festivals in the country; the Standard Bank Joy of Jazz and the infamous Tribute Concert at Moretele Park, etc. Having had the opportunity of being behind the success of the most leading artists in South Africa (as a backing vocalist). Pu2ma is surely going to stand the test of More Info |
 Fourplay is a contemporary jazz quartet in the United States. The original members of the group were Bob James (keyboards), Lee Ritenour(guitars), Nathan East (bass), and Harvey Mason (drums).[1] In 1997, Lee Ritenour left the group and Fourplay chose Larry Carlton as his replacement. In 2010, Larry Carlton left Fourplay and was replaced by Chuck Loeb.[2] Grammy-nominated supergroup Fourplay has enjoyed consistent artistic and commercial success by grafting elements of R&B and pop to their unwavering jazz foundations. In a span of twenty years and eleven albums, the quartet has continued to explore the limitless dimensions and permutations of jazz while at the same time appealing to a broad mainstream audience. Their first record, 1991's Fourplay, sold over a million copies and remained at the number one position on Billboard's contemporary jazz chart for 33 weeks. Their next LP, 1993's Between the Sheets, reached number one, went gold, and received a Grammy nomination. In 1994, their third gold album, Elixir, also reached the number one position and remained on the chart for more than 90 weeks. Fourplay received a Congressional Record from the United States Congress, House of Representatives recognizing them as distinguished members of the music industry. The award was presented by A. Robert Brown, Sr., Advisor to Congressman Ed Towns of New York at a Fourplay performance in Philadelphia. Fourplay is the only musical group in history to be recognized by the U.S. Congress.[3] Live Fourplay launch their new album "Let's touch the Sky" at the newly re-opened Clapham Grand Theatre in London on Thursday 10th November 2011. More Info |
 Charles Mingus Mingus Tijuana Moods Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was a highly influential American jazz double bassist, composer and bandleader. Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. He once cited Duke Ellington and church as his main influences. Mingus focused on collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players. Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz". His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.[1] Because of his brilliant writing for mid-size ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius".[2] Mingus' music was once believed to be too difficult to play without Mingus' leadership. However, many musicians play Mingus compositions today, from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition.[3] More Info |
 The jazz scene in South Africa grew much as it did in the United States. Through performances in nightclubs, dances, and other venues, musicians had the opportunity to play music often. Musicians such as singer Sathima Bea Benjamin learned by going to nightclubs and jam sessions and waiting for opportunities to offer their talents. One unique aspect of the South African jazz scene was the appearance of individuals imitating popular artists as closely as possible because the real musician wasn't there to perform in the area. For instance, one could find a "Cape Town Dizzy Gillespie" who would imitate not only the music, but the look and style of Dizzy.[1] This practice created a strong environment to nurture some artists who would eventually leave South Africa and become legitimate contributors to the international jazz scene. One of the first major bebop groups in South Africa in the 1950s was the Jazz Epistles.[2] This group consisted of trumpeter Hugh Masekela, saxophonist Kippie Moeketsi, and pianist Abdullah Ibrahim (then known as Dollar Brand). This group brought the sounds of United States bebop, created by artists such as Dizzy Gillespie, Charlie Parker, and Thelonious Monk, to Cape Town with Moeketsi modeling his sound and style on Parker's. This group was the first in South Africa to cut a record in the bebop style, but their contemporaries, the Blue Notes, led by pianist Chris McGregor, were no less involved in the local jazz scene. Together, these two groups formed the backbone of South African bebop. An early use of jazz as an anti-apartheid tool was the production of a musical entitled King Kong.[2] Written as a social commentary on young black South Africans, much of the music was arranged and performed by famous South African jazz musicians, including all the members of the Jazz Epistles, minus bandleader Abdullah Ibrahim. The musical was premiered to an integrated audience at the University of Witwatersrand despite efforts of the government to prevent its opening. The university had legal jurisdiction over its property and was able to allow the gathering of an integrated audience. From this point on, as the play toured South Africa, it carried this undertone of defiance with it. The success of the play eventually took it to premiere in London, and while failing financially outside of South Africa, allowed many local jazz musicians an opportunity to obtain passports and leave the country. In March 1960, the first in a series of small uprisings occurred, in an event that is now known as the Sharpeville Massacre.[2] Censorship was dramatically increased by the apartheid government, which led to the shutting down of all venues and events that catered to or employed both black and white individuals. Gatherings of more than ten people were also declared illegal. As a result, a mass exodus was created of jazz musicians leaving South Africa seeking work. Among these were pianist Abdullah Ibrahim, his wife and jazz vocalist Sathima Bea Benjamin, trumpeter Hugh Masekela, and vocalist Miriam Makeba. More Info |
 McCoy Mrubata (born 1959 in Cape Town)'' is a South African jazz saxophonist. He plays tenor, soprano, and alto saxophone in addition to flute.[1] He had an interest in music from an early age and in 1976 played flute for a time. By 1979 he had started playing professionally with a group. After some difficulties he began a successful career in the United Kingdom in 1988 and later worked with Hugh Masekela. Since then he has had a number of successes and in 2003 he won the South African Music Award in the Traditional Jazz category''.[2] More Info |
 Dizzy Gillespie Live at The Blue Note John Birks "Dizzy" Gillespie (/ɡɨˈlɛspi/; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer and occasional singer.[1] Allmusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [...] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time."[2] Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge[3] but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.[citation needed] In the 1940s Gillespie, together with Charlie Parker, became a major figure in the development of bebop and modern jazz.[4] He taught and influenced many other musicians, including trumpeters Davis, Faddis, Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan,[5] and Chuck Mangione More Info |
 The Three Sounds (also known as The 3 Sounds) were an American jazz trio that formed in 1956 and disbanded in 1973. The trio played and recorded with Lester Young, Lou Donaldson, Nat Adderley, Johnny Griffin, Anita O'Day, Bucky Pizzarelli, Stanley Turrentine and Sonny Stitt, among others. The band formed in Benton Harbor, Michigan as the Four Sounds. The original line-up consisted of Gene Harris on piano, Andrew Simpkins on double bass and Bill Dowdy on drums, along with saxophonist Lonnie 'The Sound' Walker, who dropped out the following year. The group moved toWashington and then New York, where, as the Three Sounds, they cut a record for Riverside Records, before signing an exclusive contract with Blue Note. Between 1958 and 1962, the group released nine albums for Blue Note. They toured nationally during this period, building a large following in jazz clubs across the country. The song "Put On Train", from Live at It Club (1970) was featured as the prominent background sample in the hip-hop group Beastie Boys song "What Comes Around" on their 1989 album Paul's Boutique.[1] More Info |
 The San Francisco-based smooth jazz duo of twin brothers Nelson (bass) and Wayne Braxton (saxophone) first took shape when both siblings joined the school band during the fourth grade. By high school, each was a perennial member of the California All-State Honor Band; while Wayne went on to Cal State Northridge, performing as a member of the school's celebrated Jazz A Band, Nelson instead studied tuba at San Francisco State University, later touring Europe as part of the San Francisco Symphony Youth Orchestra. The brothers were later reunited at SFSU, collaborating there in a jazz quartet; they were also both honored as selections to the Disney All-American collegiate band. Upon turning professional, Nelson toured with Najee, while Wayne worked with Sheila E.; as the Braxton Brothers, they debuted in 1996 with Steppin' Out, which was originally released on the tiny Kokopelli label but later licensed for reissue by Windham Hill, where it generated the NAC smash "When Love Comes Around." Now and Forever followed in 1999. More Info |
 The Zulu people adopted the guitar following its introduction by the Portuguese in the sixteenth century, and was locally and cheaply made by the 1930s. John Bhengu was the first major Zulu guitarist, earning a reputation in 1950s Durban for his unique ukupika style of picking (as opposed to traditional strumming). Bhengu's song format, which includes an instrumental introduction (izihlabo), a melody and spoken praise (ukubonga) for a clan or family, was widely used for a long time in Zulu-traditional music. Bhengu, however, switched to the electric guitar in the late 1960s and began recording as "Phuzushukela" (Sugar Drinker). His popularity exploded, and Zulu-traditional music entered a boom. Since the 1970s, the concertina has returned to Zulu-traditional music, while diverse influences from pop music and drum and bass were added. Vusi Ximba's Siyakudamisa (1992) was perhaps the most memorable Zulu-traditional album of the later twentieth century, and drew controversy for racy, comedic lyrics. More Info |
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