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Interview with Renee Rosnes

Autore: Renee Rosnes; Will Friedwald; Jazz at Lincoln Center (Organization)
Editore: 2009.
Serie: Duke jazz histories.
Edizione/Formato:   Video DVD : English
Banca dati:WorldCat
Sommario:
Renee Rosnes speaks with Will Friedwald about the origin of her name, Renee (taken from Irene); growing up in Vancouver; studying piano from the age of three years; playing violin as a child; introduction to jazz in high school; attending the classical performance program at the University of Toronto for two years and then returning to Toronto to enter the jazz performance scene; seeing musicians like Sarah Vaughn,  Per saperne di più…
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Dettagli

Genere/forma: Interviews
Persona incaricata: Renee Rosnes; Joe Henderson; Bill Charlap; Bobby Hutcherson; Bill Charlap; Joe Henderson; Bobby Hutcherson; Renee Rosnes
Tipo materiale: Videorecording
Tipo documento: Materiale visivo
Tutti gli autori / Collaboratori: Renee Rosnes; Will Friedwald; Jazz at Lincoln Center (Organization)
Numero OCLC: 423398715
Note: Interview with Renee Rosnes conducted by Will Friedwald, in New York, N.Y., on May 14, 2009.
Note sull’evento: This interview was videotaped at the Oral History Studio of the New York Public Library for the Performing Arts on May 14, 2009, by Gary Shinn.
Descrizione: 2 videodiscs (88 min.) : sd., col. ; 4 3/4 in.
Dettagli: DVD.
Titolo della serie: Duke jazz histories.

Abstract:

Renee Rosnes speaks with Will Friedwald about the origin of her name, Renee (taken from Irene); growing up in Vancouver; studying piano from the age of three years; playing violin as a child; introduction to jazz in high school; attending the classical performance program at the University of Toronto for two years and then returning to Toronto to enter the jazz performance scene; seeing musicians like Sarah Vaughn, Oscar Peterson, and Monte Alexander at Toronto's Plazazz Room; playing at Toronto after-hours club Basin Street; the influence of bassist Wyatt Ruther; moving to New York in 1985; playing in after-hours sessions at the Blue Note; appreciation of Art Blakey; touring with Joe Henderson in an all-female group; reception of the all-female group; Joe Henderson as a musician and as a person; playing with Out of the Blue (OTB), a supergroup assembled by Blue Note records; working with Wayne Shorter; playing a synthesizer for the first time with Shorter; Shorter's influence; Shorter's methods of communication; how all of the musicians she worked with early on shared a trust in the musicians they hired and an ability to direct musicians nonverbally and how this has influenced her style as a composer and bandleader; her first album for Blue Note; recording a duet with Herbie Hancock for this album; playing with J. J. Johnson and how the beauty of his playing inspired her; working with John Faddis and the Carnegie Hall Jazz Band; playing with the Danish Radio Big Band; performing with Gerald Wilson and his performance style; her other recordings for Blue Note; doing an album with stringed instruments; her "Life on earth" and "As we are now" recordings; how she enjoys writing for different formats, how each of her albums has a distinct personality; playing with Richie Perry; her albums with trio The Drummonds; the "Ancestors" album and how it related to her personal life; the 100 Fingers tour in Japan; how she met her husband, pianist Bill Charlap; composing and performing as part of the San Francisco Jazz Collective; working with vibist Bobby Hutcherson and the compatibility between the piano and vibraphone; playing with Bill Charlap; the influence of James Moody on her work; upcoming projects including a recording with Bill Charlap; an album in tribute to Joe Henderson; and a performance at the Vanguard in June 2009.

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