しげのゆうこ Yuko Shigeno
津田塾大学学芸学部英文科卒業。
UCLAに留学。英米文化及び、比較文化を専攻。その後幾度も渡米し、
発声法と発声指導法を学ぶ。
１９９０年にロックバンドのヴォーカリストとしてデビュー。
その後、スタジオワーク、メジャーロックバンドのツアーメンバー
としてコーラスとキーボードを担当。また資生堂、カルビー等、
多数の大手メーカーのCMソングを歌う。
２００３年度、日本ジャズヴォーカリスト賞新人賞受賞。
現在、全国各地のイベントやジャズライブハウスに出演。
２００６年にパット・メセニーのプライベートJAZZレーベル in chicago より
" yuno "名義で [Black or White] を全米でリリース。
プロモーションツアーとしてフランス・パリ、チェコ・プラハでライブを敢行。
２００８年６月１８日、ジャズアルバム [ Old devil moon ] ”月の誘惑”をリリース。
２０１１年１０月５日に、ビル・エヴァンスと並び称される叙情派ピアニスト ドン・フリードマン
との競演アルバムがリリース。
"Shiny Stockings" Yuko Shigeno with Don Friedman
今回のアルバムには、その叙情性でビル・エバンスと並び称される白人ピアニスト ドン・フリードマン [ Don Friedman ] 、日本をこよなく愛し、ワールドワイドに活躍するテナーサックス奏者 ティム・アマコスト [ Tim Aｒmacost ] 、スコット・ラファロの魂を受け継ぐNYを代表するベーシスト、自らが参加したアルバムが2008年度グラミー賞を受賞 フィル・パロンビ [ Phil Palombi ] 、縦横無尽にリズムを操るドラマー トニー・ジェファーソン [ Tony Jefferson ] が参加。
pf: Don friedman
http://www.universal-music.co.jp/jazz/artist/don_friedman/index.html
Don Friedman was born May 4, 1935, in San Francisco. His parents loved classical music and they owned a piano. Under their guidance, Don started playing at age four. He began lessons at five with a private teacher named Katherine Swint. Though he had no exposure to jazz at this time Don taught himself to improvise.
When he was 15, his family moved to the San Fernando Valley in Greater Los Angeles. Two years later he began to head regularly for the Hollywood Palladium to hear the bands of Les Brown, Stan Kenton and Billy May. That fueled his love for jazz. Kenton soloists Lee Konitz, Conte Condoli, and Frank Rossolino inspired Don as he transformed his focus from classical music to jazz.
Don studied jazz at Los Angeles City College and also on his own by playing along with records of Charlie Parker, Sonny Rollins and Miles Davis. By the mid 1950s L.A. was the capital of West Coast Jazz and Don was becoming part of it as he worked around town with groups that included Shorty Rogers, Chet Baker, Ornette Coleman, and Scott LaFaro.At the same time, he displayed his hard bop credentials by gigging with Dexter Gordon. He made his first records as a sideman with trumpeters Hank DeMano and Jack Millman. In 1956 Buddy DeFranco hired him for a tour that included gigs at New York’s Birdland and Basin Street.
The DeFranco tour was a turning point, and the experience convinced Don in 1958 to leave California for New York. He thrived in Manhattan’s great and diverse jazz scene of that time. He played with most of the major players and his reputation began to build as a pianist who was going places.
At about the same time, the legendary bass player Scott LaFaro also moved to New York. The two had become close in Los Angeles and now formed a legendary partnership as roommates, friends and fellow jazz pioneers.
During this period in New York City Don played in many settings, including his own trio and with artists such as Pepper Adams, Booker Little, Jimmy Giuffre, Charles Lloyd, Chuck Wayne, Elvin Jones and Herbie Mann.
He initially recorded as a leader for producer Orrin Keepnews at Riverside records from 1961 through 1964. His first three LPs were with his trio. German guitarist Attila Zoller, a close friend, was featured on the fourth. These records were highly acclaimed: three won five stars in Down Beat (its top rating), while the fourth earned four stars. By 1965 Friedman had been named a New Star in Down Beat's annual Critics' Poll.
Late in the 1960s Don began his association with Clark Terry, working in his big band. (He still anchors Terry’s hard-working quintet.) He also began teaching at New York University as well as leading its jazz ensemble.
Since then Don has continued to be in demand in New York City as a jazz pianist and educator, while regularly touring the United States, Europe and Japan with top-flight groups. His lyrical style, technical virtuosity and mastery of solo performance continue to draw critical acclaim and respect from his peers.
Friedmanis at home playing classic jazz with the likes of Buddy DeFranco and Clark Terry, or avant-garde jazz with the youngest Turks. Collectors snap up his recordings in America, Europe and especially Japan, where he has a remarkably large and loyal fan base. His new trio is appearing in and around New York City and has recently toured Japan.
Ts: Tim Armacost
http://www.timarmacost.com/
Growing up in Tokyo, Washington, and Los Angeles combined with Tim Armacost's lifetime of world traveling enhanced this multi-instrumentalist's absorption of cultural musics. Armacost started playing clarinet in Tokyo at age eight. By 16, he had moved to Washington and switched to playing tenor saxophone in big bands. At 18, he moved to L.A. and began developing his chops in numerous live settings with Bobby Bradford and Charlie Shoemake. Upon graduating magna cum laude from Ponoma College, he headed for Amsterdam and gigged consistently around Europe for seven years, teaching and recording. Continuing his travels, he moved to India and learned tabla and the tradition of Hindustani classical music, performing frequently with Indian jazz and classical musicians and playing Bombay's international jazz festival. In 1993, Armacost moved to New York, where he recorded his first session as a leader, Fire, on Concord. Live at Smalls was released next on Double Time, featuring trumpeter Tom Harrell. During this time, Armacost recorded and played with Kenny Barron, Roy Hargrove, David Murray Big Band, Maria Schneider Orchestra, and Randy Brecker, amongst others. Other diverse Armacost recordings feature the intercontinental jazz trio, a cooperative group featuring Joris Teepe on bass and Shingo Okudaira on drums. In 2000, another straight-ahead jazz date, The Wishing Well, was released on Double Time. ~ Al Campbell, Rovi
B: Phil Palombi
http://www.philpalombi.com/
Grammy award winning bassist Phil Palombi is "one of the most sought after young bass players", according to Steely Dan tenor saxophonist and renowned jazz musician Walt Weiskopf. His performance and recording credits include such players as, Michael Brecker, Billy Hart, Joe Lovano, Dave Liebman, Etta Jones, Maynard Ferguson, Chris Potter, Rich Perry, Curtis Stigers, Toshiko Akiyoshi, Lew Tabackin, Chucho Valdes, Mark Turner, Eliot Zigmund, Don Friedman, and The Village Vanguard Orchestra to name a few. Upon moving to New York City in 1997, he immediately began working full time performing at many of the city�s jazz venues. Jazz wasn't the only music he was interested in however. Phil is also an accomplished electric bassist and performs regularly around the city in various funk, R & B, and Brazilian pop bands.
2011 marked the 50th anniversary of the death of bass legend Scott LaFaro, who Phil honors in his latest recording RE:Person I Knew - A Tribute to Scott LaFaro. The recording features the working trio of piano great Don Friedman and Eliot Zigmund. The special guest on the recording is LaFaro's 1925 Abraham Prescott bass- the bass that he used exclusively for the last four years of his life. Barrie Kolstein, the owner of the treasure, with the blessing of the LaFaro estate, granted Phil the honor of using the instrument for the recording as well as the weekend CD release concerts months later. This was a first for the instrument, having not been played professionally since LaFaro's last gig with Stan Getz in Newport a week before his tragic accident.
When Phil isn't busy working as one of NYC's first call bassists or booking his trio with Friedman and Zigmund, he is actively pursuing music with his co-lead trio Tri-Fi.
For five years prior, Palombi was the bassist for Concord recording artist Curtis Stigers. Backing Curtis took Phil to nearly every continent, performing over 100 dates a year. Playing that many gigs a year with the same band is a rarity these days- a fact that is not lost on Curtis's backing trio. In 2005, they formed the group Tri-Fi, released four CD's, and have garnished rave reviews by such publications as Playlist Magazine, All About Jazz, and The London Times.
D: Tony Jefferson
http://www.myspace.com/tonyjeffersonmusic
After 20 years as a world class drummer on the jazz scene, Tony Jefferson has segued into the world of singing. His diverse experience as a drummer and his passion for woodwinds led him to explore musical realms that inform his approach to singing........................................ Some of Tony’s recent vocal performances have been: The Kitano Hotel in New York City, The Princeton Jazz Festival in New Jersey, Storm King Art Center, NY, The Dobbs Ferry Summer Music Festival, NY and the Hopper House in Nyack, NY. Tony has stepped out from behind the drums to sing as a guest vocalist at the Iridium, Smoke and the Blue Note in Manhattan. Tony has been recently highlighted as a guest singer in a concert tour in Germany and Austria with Cameron Brown, Sheila Jordan and Don Byron......................................................... “Not only is Tony a wonderful drummer, he is also a wonderful singer with a very original sound.” ~Sheila Jordan.......................................................................................................... “I've had the pleasure of listening to Tony Jefferson's vocal tracks, and I was thoroughly entertained with his effortless swing and attractive tone quality." ~Marion Cowings.................................................................................................................... EXCERPT FROM FILM REVIEW:Tony recorded the song Easy Street (composed by Billy Barber) for the film Oh My Love........................................................................................................................... Film Reviews: Oh My Love (2010) - By Duane L. Martin Posted on Friday, April 02, 2010 @ 00:05:00 Mountain Daylight Time by Duane....................................................................................................................... "The quality of the production was absolutely amazing, but two things made it particularly so. The first was the music. It had some slow, mellow piano piece playing at the beginning, and later on, while they were cleaning the bed, there was no dialogue, but there was a really beautiful, slow and jazzy type of a song with just incredible vocals that sounded like something you'd have heard in the 30's or 40's playing. Musical selection and the use thereof is extremely important in a film, and I couldn't begin to imagine how the musical selections or the use of the music at the appropriate times could have been any more flawlessly executed than it was in this film."
pastel dro...
