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2019 17:00

Katie Thiroux Trio

Katie Thiroux est devenue un audacieux porte-étendard pour la nouvelle génération de chanteurs / instrumentistes de jazz.
Après ses débuts prodigieux à la basse à 8 ans et ses études avec le chanteur renommé Tierney Sutton à 12 ans, Thiroux a été encadrée par le légendaire bassiste John Clayton et a reçu une bourse présidentielle Phil Ramone du Berklee College of Music, tout en acquérant de l’expérience sur scène avec des artistes tels que Terrell Safford, Terri Lyne Carrington, Branford Marsalis, Larry Fuller, Jeff Clayton, Patti Austin, Geri Allen, Helen Sung, Charles McPherson et des dizaines d’autres.

Elle a été finaliste au concours international de chant Thelonious Monk 2015, et son premier album en tant que leader, Introducing Katie Thiroux, a reçu la même année les éloges de All About Jazz, du Huffington Post, de la Jazz Journalists Association et de NPR Jazz, qui a répertorié cette sortie parmi leurs 5 meilleurs albums de l’année.
Elle a été nommée bassiste «Rising Star» dans le sondage «DownBeat Critics Poll» de 2018, est une clinicienne itinérante du programme «Monterey Jazz Festival in the Schools» et a effectué une résidence de trois mois au club de jazz de Quincy Jones à Dubaï en 2017.

Son album Off Beat a été produit par l’éminent batteur Jeff Hamilton et a été classé parmi les meilleurs albums de 2017 par DownBeat. Pour cette date, Thiroux sera accompagnée de son excellent trio, comprenant le batteur Matt Witek et le pianiste Martin Schack.

“… Une chanteuse envoûtante, une bassiste acoustique brillante et une compositrice  accomplie.” – The Boston Globe

«Un talent multitâche qui balance sa basse avec la puissance d’un moteur V8 qui rendrait son héros Ray Brown fier et qui transforme sa petite voix en une chose délicieuse » – The New Yorker

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2019 17:00

Weill Times, a black tango

Penelope Turner, voice
Andrew Wise, piano
Raphaël D’Agostino, cornet and flugelhorn
Nathan Wouters, double bass
Peter Ploegaerts, drums and percussion

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2020 17:00

Jim Snidero Quartet

Over the past thirty-five years, Jim Snidero has come to be known as one of the finest jazz musicians of his generation. As an alto saxophonist, composer, arranger, author and educator, Snidero has been called both a “master musician” and “alto saxophone virtuoso” by Downbeat Magazine, and placed in the 2017 Downbeat Critic’s Poll, demonstrating his continued impact on the international jazz scene.

Jim Snidero grew up in Camp Springs, Maryland, just outside of Washington, DC . Musically nurtured from a young age, both at home and in his school music program, Snidero began to quickly show promise as a musician. As a teenager, Snidero studied with the great Phil Woods and was a member of the famed One O’Clock Lab Band at the world-renowned jazz program at the University of North Texas. Studies with another saxophone great—Dave Liebman—helped Snidero to reach the next level as a musician and, ultimately, helped him to make the decision to move to New York at the conclusion of his college years.

After arriving in The Big Apple in 1981 at age 23, Snidero first appeared on the jazz radar when he joined Brother Jack McDuff’s band, recording 3 albums with a jazz giant. That proved to be the first of many notable sideman stints for the then-budding saxophonist. Word of his skills quickly spread, leading Snidero down other avenues with the Mingus Big Band, saxophone icon Frank Wess, the Toshiko Akiyoshi Jazz Orchestra, Eddie Palmieri, and Frank Sinatra (Duets II, Capitol), to name just a few.

Snidero became a leader on record with On Time (Toshiba/EMI 1984), the first of many notable dates that he would record under his own name. Over the quarter century that followed, he created an enviable body of work built with musical consistency and stylistic diversity. Highlights include Mixed Bag (Criss Cross, 1987), his first widely-available release, Blue Afternoon (Criss Cross, 1989), deemed one of the best jazz records in history in The Penguin Jazz Guide: The History Of The Music In The 1001 Best Albums, and Strings (Milestone, 2003) which he both composed and arranged for string orchestra, hailed a “masterpiece” by several major news organizations.

The last ten years has delivered a series of well-received dates for the prominent Savant record label. Snidero initially focused on a guitar-centric line-up, among other things teaming up with young modernists like bassist Linda Oh and drummer Rudy Royston for dazzling efforts like Stream Of Consciousness (Savant, 2013), resulting in Snidero placing in Downbeat Magazine’s 2014 Reader’s poll. He then pivoted to piano trio with Main Street (Savant, 2015) and quintet with MD66 (Savant, 2016) inspired by Miles’ Davis’ second great quintet, resulting in a critic’s pick in Jazz Times magazine.

In 1996, Jim Snidero revolutionized jazz education by penning the first Jazz Conception books. These best-selling books eventually spawned an Easy and Intermediate series that filled in the gaps for players at different levels; to date, the Jazz Conception series contains over forty books, and it remains an incredibly popular jazz education resource.  In 2013, Snidero furthered his role as a jazz education visionary, creating The Jazz Conception Company, which explores a new frontier in the technology-meets-education world

After touring with Jack McDuff from 1981 to 1982, he joined Toshiko Akiyoshi's Jazz Orchestra in 1983 in New York, and performed with the group for twenty years. He also played in Frank Sinatra's band from 1991 to 1995 and Eddie Palmieri's band beginning 1994. Snidero also has performed with the Frank Wess Sextet (1985), the Mingus Big Band from 1996 to 2000, and Walt Weiskopf from 1994 to 2003. He has worked as a sideman for David Hazeltine,David MurrayMike LeDonneJoe MagnarelliMaria SchneiderMel LewisJim RotondiBrian LynchConrad Herwig, and Tom Varner.

In 1984 he formed his own quintet and recorded and performed with sidemen that includes trumpeters Brian LynchTom Harrell (from 1989 to 1992), and Tim Hagans (from 1992 to 1995); the pianists Benny Green (from 1987 to 1991), and Mulgrew Miller (in 1991); the double bass players Peter Washington and Dennis Irwin; and the drummers Billy Hart (from 1984 to 1986, and again in 1989), Louis Hayes (in 1990), Gene Jackson (in 1993), and Adam Nussbaum (from 1996). He was awarded two National Endowment for the Arts grants, including one recording with Dave Holland and Jack Dejohnette (1997).

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