MARIAN McPARTLAND Se esta fantástica pianista inglesa tivesse aparecido lá no chauvinista "Beco das Garrafas" - nos anos 60, teria sido recebida com aplausos e o elogio [SIC] "toca feito homem". Para quem conheceu o nível de exigência da galera do "Beco", não precisa dizer mais nada a respeito de Marian McPartland... -------------- MARIAN McPARTLAND Marian McPartland, (nascida em 20 março de 1918, na Inglaterra) é uma pianista de jazz , compositora, escritora e anfitriã do programa de rádio "McPartland's Piano Jazz". Marian foi um prodígio, cuja carreira teve início no momento em que, aos três anos de idade, sentou ao piano. Marian estudou música clássica e violino - além do piano, instrumento pelo qual se apaixonou através da música de Duke Ellington , Fats Waller , Teddy Wilson , Mary Lou Williams, entre outros. Para desgosto de sua família e dos esforços para mantê-la em casa, em 1938, Marian saiu para se juntar ao quarteto de vaudeville de Billy Mayerl de Claviers, grupo que percorreu toda a Europa durante a Segunda Guerra Mundial, para divertir as tropas aliadas. Na Bélgica, em 1944, ela conheceu e começou a tocar com o trompetista de jazz (de Chicago) Jimmy McPartland, como o qua se casou imediatamente, numa base militar na Alemanha. Após a guerra, eles se mudaram para Chicago e, logo depois, em 1949, para Manhattan, onde teve início a profícua e brilhante carreira de Marian. O resto é história... (CB) ------------- MARIAN McPARTLAND When considering the long and storied career of Marian McPartland it soon becomes apparent that the remarkable breadth and manner of her accomplishments are, in all likelihood, unmatched in the history of jazz. A pianist and composer gifted with a vast, encyclopedic memory and an intuitive sense of harmony, McPartland has been performing professionally for 65 years now, delighting audiences with her engaging artistry in clubs and concert halls around the globe and on scores of recordings. To millions of radio listeners, she is also the lively host of “Marian McPartland’s Piano Jazz,” the popular Peabody Award-winning National Public Radio program which is celebrating its 25th year on the airwaves. Additionally, McPartland has mentored countless musicians, spearheaded efforts in jazz education and served as one of the best ambassadors of jazz the world has known. The fact that an individual born in a small English village near Windsor Castle should become one of the leading proponents of America’s Great Musical Idiom is, actually, not as ironic as it may seem to be. After all, by the time Duke Ellington toured Great Britain and several other European nations with his orchestra in 1933 le jazz hot was already exciting the Old World masses, with Margaret Marian Turner, then 15, among the music’s fans. A musical prodigy from the time she could sit at the piano, she studied classical music, mastered the violin as well, and simply worshipped jazz, taking Duke, Teddy Wilson and others to heart while looking to Mary Lou Williams, Lil Hardin and Hazel Scott as trailblazers she’d likely follow. In 1938 McPartland was enrolled at the Guildhall School of Music in London when Billy Mayerl, a well-known music hall entertainer, asked her to join The Claviers, his four-piano stage act, and despite a thousand pound counter-offer from her father to stay in school, the young pianist assumed the stage name of “Marian Page” and hit the vaudeville circuit with Mayerl. Subsequent work in a piano duo with Roma Clarke undoubtedly enhanced McPartland’s skill in sympathetic accompaniment—and, one could say, paved the way for the duets featured on her “Piano Jazz” radio program. A pivotal moment in the young pianist’s life came in 1944 while entertaining British and American troops in Belgium when she met Jimmy McPartland, a prominent traditional-style cornetist from Chicago (and eleven years her senior). The two musicians fell in love and the following year they were married at a military base in Germany. After the war Jimmy McPartland brought his young wife to the Windy City, where the couple worked until they moved to Manhattan in 1949. Louis Armstrong greeted them on their first day in the city, and in no time they were ensconced in the middle of the bustling jazz universe. Although the McPartlands divorced in 1970, they continued to work together, stayed friends and eventually re-married. To this day Marian McPartland credits her late husband for helping to establish her professional career in the U. S. and for encouraging her broader musicianship through jobs with other bandleaders and instrumentalists. From 1952 to 1960 Marian McPartland led a trio at the Hickory House, a restaurant-cum-nightclub on Manhattan’s legendary 52nd Street, and it was there that the pianist grew in stature among her peers and legions of jazz fans, the casual and cognoscenti alike. On any given night those in attendance to hear McPartland play might include Ellington, Billy Strayhorn, Steve Allen, Oscar Peterson, Artie Shaw and all kinds of celebrities from Broadway to Hollywood, along with musicians like Bucky Pizzarelli and Paul Bley hoping to sit in with the band. As for the trio, a number of different bassists and drummers backed McPartland through her lengthy, crowd-pleasing stint at the popular night spot, but the 1954-1956 edition of the band, with Bill Crow and Joe Morello, is best remembered today. Luckily, a recording engineer just starting out named Rudy Van Gelder taped some of McPartland’s Hickory House performances for Savoy Jazz, and since then the label has released several albums’ worth of the material. Instead of simply falling back on a true-and-tried repertoire and sticking to familiar musical styles while at the Hickory House, McPartland used her employ there as a base for a wide learning experience, typically running over to Birdland and other nearby clubs, between and after her own sets, to soak up more music and to study Duke, Basie, Monk, Bud Powell, Dave Brubeck et al. “My goal was to hear everything, and play a lot of musicians’ tunes,” said McPartland to one interviewer. Able to summon a prodigious number of songs from memory and adaptive to any subgenre of jazz she encountered, McPartland became heralded as a superb interpreter and forceful improviser. With her trio she began to receive more and more out-of-town offers as her reputation grew, and at the famous “Great Day in Harlem” photo shoot for Esquire in 1958 she was among the dozens of jazz greats assembled, standing, appropriately enough, next to Mary Lou Williams. Through the 1960s, as jazz surrendered a good deal of its audience to rock and roll, McPartland’s enterprising knack for keeping busy came to the fore, and despite an unsatisfying stretch working for Benny Goodman she continued to grow musically. Like many other denizens of the ivories at the time, she was very much taken by the lyrical romanticism of Bill Evans, whose influence became reflected not only in her playing but in her songwriting, as evidenced in her original compositions “With You in Mind,” “In the Days of Our Love” and “Ambience,” to name just a few. Unsigned to any label, McPartland started her own, Halcyon, self-producing a number of albums of her work and experiencing first-hand the spectral hues of entrepreneurship for more than 15 years. She hosted a radio show on the Pacifica Radio Network station WBAI-FM in New York City for a while, too, and also helped to develop and participated in a jazz education program for Washington, D. C. schoolchildren that ended up becoming a model for similar endeavors around the country. On top of it all, McPartland, who’d supplied Down Beat with some concert reviews back in 1949, took up the pen occasionally to write witty and prescient appreciations and remembrance-filled essays for different magazines, which were collected in a volume titled All in Good Time in 1987. The book was reissued by the University of Illinois Press in February 2003 as Marian McPartland’s Jazz World with new postscripts from the author. The best-known forum for her enthusiastic advocacy of the improviser’s art, however, has been, and continues to be, “Marian McPartland’s Piano Jazz,” a radio program heard weekly on National Public Radio for the past 25 years, making the series NPR’s longest-running cultural program. Developed and presented by South Carolina Educational Radio, “Piano Jazz” today reaches listeners in 45 states and 24 foreign countries. Featuring intimate piano duets and impromptu conversation, twenty-six new installments of the hour-long show are taped each year with guests who have included nearly all the important jazz artists of the age and other musical luminaries..McPartland has released over 60 albums on Concord Records, and her twenty-five year long tenure at the label represents quite an Enviable milestone in itself. Marian was awarded her first Grammy in 2004, a Trustees Lifetime Achievement Award celebrating her work as an educator, writer and radio host. She also celebrated the 25th Anniversary of Piano Jazz with a live taping in front of an audience at Kennedy Center, Washington DC on June 4, 2004 with special guest Peter Cincotti. On March 20, 2004 Marian McPartland turned 86, but fans and interviewers should wisely refrain from using the word “octogenarian” in her presence. She continues to perform for audiences around the world, and, needless to say, talk of retirement confounds the seemingly indefatigable pianist, entertainer and legend who has guests booked for “Piano Jazz” two years from now. (Source: http://www.concordmusicgroup.com/artists/Marian-McPartland - edited by CB) ------------ ALBUM REVIEW Pianist Marian McPartland has always had an affinity for the compositions of Billy Strayhorn, giving his songs the right amount of sensitivity and swing. For this quartet session with altoist Jerry Dodgion, bassist Steve LaSpina, and drummer Joey Baron, McPartland explores ten of Strayhorn's best-known originals, including "Isfahan," "Lotus Blossom," "Lush Life," "Take the 'A' Train," and "Raincheck." No revelations or innovations occur, but Billy Strayhorn's music is well served by McPartland's interpretations. ~ ~Scott Yanow ---------- MINHA OPINIÃO Tudo o que diz respeito à belissima história de vida de Marian McPartland está aí em cima. Portanto, seria perda de tempo tentar acrescentar qualquer comentário adicional, acerca do talento incomensurável desta pianista que tem cara de mãe-de-família-inglesa: franzina, culta, educada - perfil que, definitivamente, não combina com o "piano de homem" que toca...Este álbum, um dos 60 gravados por MMcP, é dedicado à grande música de Billy Straihorn. BELEZA PURA! ------------ MARIAN McPARTLAND: Plays de music of Billy Strayhorn PERSONNEL Marian McPartland (piano) Jerry Dodgion (alto saxophone) Steve LaSpina (bass) Joey Baron (drums). TRACKS/FAIXAS: 1. Intimacy Of The Blues 2. Isfahan 3. Lotus Blossom 4. Raincheck 5. Lush Life 6. U.M.M.G. 7. A Flower Is A Lovesome Thing 8. Take The 'A' Train 9. Day Dream 10. After All DO

MARIAN McPARTLAND
Se esta fantástica pianista inglesa tivesse aparecido lá no chauvinista "Beco das Garrafas" - nos anos 60, teria sido recebida com

aplausos e o elogio [SIC] "toca feito homem". Para quem conheceu o nível de exigência da galera do "Beco", não precisa dizer mais

nada a respeito de Marian McPartland...
--------------
MARIAN McPARTLAND
Marian McPartland, (nascida em 20 março de 1918, na Inglaterra) é uma pianista de jazz , compositora, escritora e anfitriã do

programa de rádio "McPartland's Piano Jazz". Marian foi um prodígio, cuja carreira teve início no momento em que, aos três anos de

idade, sentou ao piano. Marian estudou música clássica e violino - além do piano, instrumento pelo qual se apaixonou através da

música de Duke Ellington , Fats Waller , Teddy Wilson , Mary Lou Williams, entre outros.
Para desgosto de sua família e dos esforços para mantê-la em casa, em 1938, Marian saiu para se juntar ao quarteto de vaudeville de

Billy Mayerl de Claviers, grupo que percorreu toda a Europa durante a Segunda Guerra Mundial, para divertir as tropas aliadas.
Na Bélgica, em 1944, ela conheceu e começou a tocar com o trompetista de jazz (de Chicago) Jimmy McPartland, como o qua se

casou imediatamente, numa base militar na Alemanha. Após a guerra, eles se mudaram para Chicago e, logo depois, em 1949, para

Manhattan, onde teve início a profícua e brilhante carreira de Marian. O resto é história...
(CB)
-------------
MARIAN McPARTLAND
When considering the long and storied career of Marian McPartland it soon becomes apparent that the remarkable breadth and

manner of her accomplishments are, in all likelihood, unmatched in the history of jazz. A pianist and composer gifted with a vast,

encyclopedic memory and an intuitive sense of harmony, McPartland has been performing professionally for 65 years now, delighting

audiences with her engaging artistry in clubs and concert halls around the globe and on scores of recordings. To millions of radio

listeners, she is also the lively host of “Marian McPartland’s Piano Jazz,” the popular Peabody Award-winning National Public Radio

program which is celebrating its 25th year on the airwaves. Additionally, McPartland has mentored countless musicians, spearheaded

efforts in jazz education and served as one of the best ambassadors of jazz the world has known. The fact that an individual born in a

small English village near Windsor Castle should become one of the leading proponents of America’s Great Musical Idiom is, actually,

not as ironic as it may seem to be. After all, by the time Duke Ellington toured Great Britain and several other European nations with

his orchestra in 1933 le jazz hot was already exciting the Old World masses, with Margaret Marian Turner, then 15, among the

music’s fans. A musical prodigy from the time she could sit at the piano, she studied classical music, mastered the violin as well, and

simply worshipped jazz, taking Duke, Teddy Wilson and others to heart while looking to Mary Lou Williams, Lil Hardin and Hazel

Scott as trailblazers she’d likely follow. In 1938 McPartland was enrolled at the Guildhall School of Music in London when Billy

Mayerl, a well-known music hall entertainer, asked her to join The Claviers, his four-piano stage act, and despite a thousand pound

counter-offer from her father to stay in school, the young pianist assumed the stage name of “Marian Page” and hit the vaudeville

circuit with Mayerl. Subsequent work in a piano duo with Roma Clarke undoubtedly enhanced McPartland’s skill in sympathetic

accompaniment—and, one could say, paved the way for the duets featured on her “Piano Jazz” radio program. A pivotal moment in the

young pianist’s life came in 1944 while entertaining British and American troops in Belgium when she met Jimmy McPartland, a

prominent traditional-style cornetist from Chicago (and eleven years her senior). The two musicians fell in love and the following year

they were married at a military base in Germany. After the war Jimmy McPartland brought his young wife to the Windy City, where the

couple worked until they moved to Manhattan in 1949. Louis Armstrong greeted them on their first day in the city, and in no time they

were ensconced in the middle of the bustling jazz universe. Although the McPartlands divorced in 1970, they continued to work

together, stayed friends and eventually re-married. To this day Marian McPartland credits her late husband for helping to establish her

professional career in the U. S. and for encouraging her broader musicianship through jobs with other bandleaders and

instrumentalists. From 1952 to 1960 Marian McPartland led a trio at the Hickory House, a restaurant-cum-nightclub on Manhattan’s

legendary 52nd Street, and it was there that the pianist grew in stature among her peers and legions of jazz fans, the casual and

cognoscenti alike. On any given night those in attendance to hear McPartland play might include Ellington, Billy Strayhorn, Steve

Allen, Oscar Peterson, Artie Shaw and all kinds of celebrities from Broadway to Hollywood, along with musicians like Bucky Pizzarelli

and Paul Bley hoping to sit in with the band. As for the trio, a number of different bassists and drummers backed McPartland through

her lengthy, crowd-pleasing stint at the popular night spot, but the 1954-1956 edition of the band, with Bill Crow and Joe Morello, is

best remembered today. Luckily, a recording engineer just starting out named Rudy Van Gelder taped some of McPartland’s Hickory

House performances for Savoy Jazz, and since then the label has released several albums’ worth of the material. Instead of simply

falling back on a true-and-tried repertoire and sticking to familiar musical styles while at the Hickory House, McPartland used her

employ there as a base for a wide learning experience, typically running over to Birdland and other nearby clubs, between and after her

own sets, to soak up more music and to study Duke, Basie, Monk, Bud Powell, Dave Brubeck et al. “My goal was to hear everything,

and play a lot of musicians’ tunes,” said McPartland to one interviewer. Able to summon a prodigious number of songs from memory

and adaptive to any subgenre of jazz she encountered, McPartland became heralded as a superb interpreter and forceful improviser.

With her trio she began to receive more and more out-of-town offers as her reputation grew, and at the famous “Great Day in Harlem”

photo shoot for Esquire in 1958 she was among the dozens of jazz greats assembled, standing, appropriately enough, next to Mary

Lou Williams. Through the 1960s, as jazz surrendered a good deal of its audience to rock and roll, McPartland’s enterprising knack for

keeping busy came to the fore, and despite an unsatisfying stretch working for Benny Goodman she continued to grow musically. Like

many other denizens of the ivories at the time, she was very much taken by the lyrical romanticism of Bill Evans, whose influence

became reflected not only in her playing but in her songwriting, as evidenced in her original compositions “With You in Mind,” “In the

Days of Our Love” and “Ambience,” to name just a few. Unsigned to any label, McPartland started her own, Halcyon, self-producing a

number of albums of her work and experiencing first-hand the spectral hues of entrepreneurship for more than 15 years. She hosted a

radio show on the Pacifica Radio Network station WBAI-FM in New York City for a while, too, and also helped to develop and

participated in a jazz education program for Washington, D. C. schoolchildren that ended up becoming a model for similar endeavors

around the country. On top of it all, McPartland, who’d supplied Down Beat with some concert reviews back in 1949, took up the pen

occasionally to write witty and prescient appreciations and remembrance-filled essays for different magazines, which were collected in

a volume titled All in Good Time in 1987. The book was reissued by the University of Illinois Press in February 2003 as Marian

McPartland’s Jazz World with new postscripts from the author. The best-known forum for her enthusiastic advocacy of the improviser’s

art, however, has been, and continues to be, “Marian McPartland’s Piano Jazz,” a radio program heard weekly on National Public

Radio for the past 25 years, making the series NPR’s longest-running cultural program. Developed and presented by South Carolina

Educational Radio, “Piano Jazz” today reaches listeners in 45 states and 24 foreign countries. Featuring intimate piano duets and

impromptu conversation, twenty-six new installments of the hour-long show are taped each year with guests who have included nearly

all the important jazz artists of the age and other musical luminaries..McPartland has released over 60 albums on Concord Records,

and her twenty-five year long tenure at the label represents quite an Enviable milestone in itself. Marian was awarded her first Grammy

in 2004, a Trustees Lifetime Achievement Award celebrating her work as an educator, writer and radio host. She also celebrated the

25th Anniversary of Piano Jazz with a live taping in front of an audience at Kennedy Center, Washington DC on June 4, 2004 with

special guest Peter Cincotti. On March 20, 2004 Marian McPartland turned 86, but fans and interviewers should wisely refrain from

using the word “octogenarian” in her presence. She continues to perform for audiences around the world, and, needless to say, talk of

retirement confounds the seemingly indefatigable pianist, entertainer and legend who has guests booked for “Piano Jazz” two years

from now.
(Source: http://www.concordmusicgroup.com/artists/Marian-McPartland - edited by CB)
------------
ALBUM REVIEW
Pianist Marian McPartland has always had an affinity for the compositions of Billy Strayhorn, giving his songs the right amount of

sensitivity and swing. For this quartet session with altoist Jerry Dodgion, bassist Steve LaSpina, and drummer Joey Baron,

McPartland explores ten of Strayhorn's best-known originals, including "Isfahan," "Lotus Blossom," "Lush Life," "Take the 'A' Train,"

and "Raincheck." No revelations or innovations occur, but Billy Strayhorn's music is well served by McPartland's interpretations. ~

~Scott Yanow
----------
MINHA OPINIÃO
Tudo o que diz respeito à belissima história de vida de Marian McPartland está aí em cima. Portanto, seria perda de tempo tentar

acrescentar qualquer comentário adicional, acerca do talento incomensurável desta pianista que tem cara de mãe-de-família-inglesa:

franzina, culta, educada - perfil que, definitivamente, não combina com o "piano de homem" que toca...Este álbum, um dos 60

gravados por MMcP, é dedicado à grande música de Billy Straihorn. BELEZA PURA!
------------
MARIAN McPARTLAND: Plays de music of Billy Strayhorn

PERSONNEL
Marian McPartland (piano)
Jerry Dodgion (alto saxophone)
Steve LaSpina (bass)
Joey Baron (drums).

TRACKS/FAIXAS:
1. Intimacy Of The Blues
2. Isfahan
3. Lotus Blossom
4. Raincheck
5. Lush Life
6. U.M.M.G.
7. A Flower Is A Lovesome Thing
8. Take The 'A' Train
9. Day Dream
10. After All

DOWNLOAD LINK:
http://www.mediafire.com/?1n4hpitc7ohu1qp