You already know how we are at Gospel Musicians: We like our instruments to sound authentic, organic, realistic, and with a ton of dirt. This is your classic jazz and no-soul piano that you hear on old school hip-hop and jazz records. If you are looking for some new piano inspiration for your Motif, then finally we are able to partner with AcousticsampleS to bring to you the absolute best piano sounds for the Yamaha Motif keyboards. As with all of Gospel Musicians instruments, we pride ourselves on bringing sounds that are ultra realistic and with a ton of character.
"Everybody keeps on sampling the best and cleanest piano ever! Here is a completely different approach. We sampled an old Pleyel Grand Piano (F-71240 model from 1928) with vintage gear like a studer console and tube microphones, it has the rich and warm sound of the old jazz/blues or even classical music recordings."
The Ultimate Gospel And Jazz Pia
The rowdy, funky, hard-swinging acoustic jazz of Lewis, bassist Eldee Young and drummer Red Holt blended nicely with the wildly eclectic musical mélange making its way through the radio airwaves that summer of '65, including the Rolling Stones' "(I Can't Get No) Satisfaction," The Four Tops' "I Can't Help Myself," Tom Jones' "What's New, Pussycat?" and The Beatles' "Help!" For his part, Lewis received not only chart success with "The 'In' Crowd" but also cultural acclamation: the song earned him the Grammy award for Best Instrumental Jazz Performance.
Ramsey Emmanuel Lewis, Jr. was born on May 27, 1935, in Chicago. Growing up in the Cabrini-Green housing project, he began playing piano at age 4. He began his classical training at the Chicago Music College Preparatory School, while playing piano and organ in his local church. He carried the abiding influences of both his gospel and classical training into a stylistically eclectic yet rhythmically grounded approach to jazz.
"I lucked out," Lewis told a Chicago Sun-Times interviewer in 2018, "because both my parents loved classical and gospel music. My dad loved jazz as well. So, I was hearing this music around the house since I was born."
After apprenticing with local ensembles, Lewis joined a jazz group called The Clefs as a freshman at Chicago's Wells High School. Young and Holt were a part of that combo before joining what was later known as the "classic" Ramsey Lewis Trio. They made their recording debut in 1956 with Ramsey Lewis and the Gentle-men of Swing, followed in 1957 by Ramsey Lewis and the Gentle-men of Jazz, Volume Two.
Though the 1970s were considered by many to be a low point for jazz's popularity, Lewis' crossover success raised hopes that the music would maintain the same connections with rock, soul, and pop that it had in the first half of the 20th century. By reaching out to audiences of all ages and musical tastes with such a varied and cross-generational repertoire, Lewis was making as bold an investment in the future of jazz as any (so-called) avant-gardist or neo-classicist.
"I think [in] everything I do, the common denominator is improvisation," Lewis told Molly Murphy in a 2006 interview for the National Endowment For the Arts. "Improvisation that should swing, have some forward motion to it, even if it's a ballad, to have some movement about it. Where are you going to find that spontaneous improvisation in the moment except in jazz?"
The New Orleans pianist would claim that he invented jazz. Without a doubt, he helped create the sound of jazz piano. Benny Goodman and his band later had a hit with their recording of this Morton song.
Drummer Blakey helped forge hard bop, a style that took bebop and integrated R&B, blues and gospel. Over its long life, the Jazz Messengers also launched the careers of many star players, including Lee Morgan, Wayne Shorter, Keith Jarrett, Terence Blanchard and Wynton Marsalis.
New York was the center of the jazz world, or at least the jazz media. Thundering pianist Tapscott, who stayed close to Los Angeles and was deeply committed to his community, never got the critical attention of East Coast players. His deep influence on contemporary star Kamasi Washington, however, lifted his profile in jazz history.
Marsalis, born into a leading New Orleans musical family, rejected pop influences and free jazz experimentation. He championed instead a conservative approach rooted in swing and bebop. As director of New York's Jazz at the Lincoln Center, Marsalis continues to strongly influence the course of jazz.
The app contains more than 60 lessons with technical practices, music theory, and a library of 1500+ songs of several genres, such as pop, classical, film music, jazz, and evergreens.
Moreover, all lessons are prepared by dozens of experienced pianists. They can both teach you new piano skills, as well as inspire you. As a result, you are going to have comprehensive training in gospel and jazz piano.
You can choose one-time downloadable courses or a jazz and gospel training center based on a monthly membership. In addition to the video lessons themselves, educational software such as a Back pocket band, Ear tutor, or Instant transposer is available.
Except for a skilled piano tutor David Sides, who collaborated with several pop stars, there are also lessons with jazz legend Harry Connick, Jr. Interactive way of practice is educational, but also funny and addictive.
With a large selection of lessons and a price-performance ratio, Piano With Willie is a reasonable choice for those who search for online piano courses for adults focused on pop, jazz, and blues music.
Primarily based on video content, Piano With Willie is probably more suited to adults than young children. Part of the jazzedge.com umbrella site, it consists of thousands of lessons from Berklee Music School graduate Willie Myette, available for purchase on a monthly or annual subscription basis.
My work focuses on Saxophone Performance. Saxophonist Ralph Bowen has made his mark on the New York jazz scene for over three decades, while bringing his "casual perfectionism" to clubs, concert halls, and festivals worldwide.
A native of Pittsburgh, Pennsylvania, jazz pianist George W. Russell, Jr. is a performer, composer, and educator. He began studying piano at seven years old. Along with studying formally, Russell had the great fortune of growing up playing at his local church. There was no written music at the church, so he was given the opportunity to develop his ear. As he continued studying music in college, he discovered jazz and its uniquely beautiful harmonies. It was then that Russell began to understand what exactly he was playing from a theoretical viewpoint, both in church and in classical repertoire. In that period of time, his unique fusion of gospel and jazz was beginning to form.
As a studio musician, Kocour's recorded work includes soundtracks to two major motion pictures, and numerous television commercials. He has also released six critically acclaimed CDs as a leader. Alfred Music has published Kocour's original compositions and arrangements for piano. Additionally, his arrangements for jazz ensembles are available at ejazzlines.com.
Melanie Shore is a jazz pianist, educator, composer, and arranger. Her dynamic fluency on the piano and Hammond B3 has established her as an accomplished performer, studio musician, and music director. Shore is a sought-after clinician and mentor for jazz performers, and has been teaching jazz at the collegiate level for over 15 years. Through Melanie Shore Music, she creates educational resources, such as her recent release 6 Steps to Soloing: a start up guide for jazz newbies.
Dr. Samuel Gingher is a consummate performer at the keyboard. He possesses a rarely-heard quality among pianists, being equally adept at classical and jazz performance. Gingher has performed at festivals in Europe and the US and received First Prize at the 2010 Brevard Music Festival Piano Competition and the Krannert Center for the Performing Arts' Debut Artist Award. He has played with such noted artists as trumpeter Tito Carrillo, saxophonist Remy Le Boeuf, bassist Chris Finet, drummer Arthur Vint and erhu player, Yang Ying and recorded on the Naxos label.
Originally from Greensboro, NC, Gingher earned DMA in Piano Performance and Literature, MM in Piano Performance, and MM in Piano Pedagogy degrees from the University of Illinois at Urbana-Champaign. As an undergraduate at UNC-Chapel Hill, Gingher studied with Ed Paolantonio, who was a student of legendary jazz pianist and educator, Lennie Tristano. Gingher is currently an Assistant Professor at Northern Arizona University, having previously taught at Millikin University, Bradley University, and UIUC.
The Bob Ravenscroft International Jazz Piano Competition has been developed to recognize and celebrate exceptional creative artistry in young, professional jazz pianists. In order to participate in this (acoustic) jazz piano event, the entrant must be 21 to 35 years old. It is the intent of the Bob Ravenscroft International Jazz Piano Competition to elevate those performers who are best able to explore their musical gifts in ways that connect with their audience at a deeper, spiritual level. The most venerated pianists will be able to inspire others even as they themselves seek inspiration to create pure improvisations in the moment.
Bob Ravenscroft, the visionary namesake for this competition, is an accomplished jazz pianist, composer, recording artist, and teacher. He has performed and recorded for decades as a solo artist and in piano trio settings, often with his improvisational collective, Inner Journeys. In 2004, Bob founded Music Serving The Word (MSW Ministries) through which he continues to create and encourage others to discover new and innovative ways for music to transcend mere performance and truly serve the living Word. (John 1:1) Along with his wife and partner, Gretchen, Bob led the design and facilitated the building of Ravenscroft, a world-class music venue and multi-use space in Scottsdale, AZ, which opened to serve both spiritual and artistic communities in October 2021. And it is Ravenscroft that serves as the host facility for this competition. 2ff7e9595c
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