Carl Stormer


Hear what Cameron Brown (bassist) , Rob Scheps (saxophonist) and Tore Myrholt (McKinsey consultant) have in common. Narrated by Carl Størmer for Jazzcode AS. Produced by Nordisk Film 2008

JazzCode Inc. with Nordisk Film
Interviewee/bass: Cameron Brown
Interviewee/sax: Rob Scheps
Interviewee: Tore Myrholt
Pianist: Jamie Reynolds
Producer/voice-over/drums: Carl Stormer
Director: Jens Blom
Production Company: Nordisk Film

Erlendur Svavarsson



John Coltrane’s masterwork, A Love Supreme, was only played once in live concert. This portion is the only surviving film of that 1965 performance.




Heitor Villa-Lobos: BACHIANAS BRASILEIRAS N° 5 – The Modern Jazz Quartet

Milt Jackson, vibraphone
John Lewis, piano
Percy Heath, double bass
Connie Kay, drums


Serge Bogdanov

VJO in Germany 2009

Nick Marchione
Frank Greene
Terell Stafford
Scott Wendholt

John Mosca
Luis Bonilla
Jason Jackson
Douglas Purviance

Dick Oatts
Billy Drewes
Rich Perry
Ralph LaLama
Gary Smulyan

Micheal Weiss(piano)
John Riley (drums)

Ruslan Kapush

http://www.cullyjazz.ch/, http://www.discogs.com/artist/Steve+C…
1. Cardiovascular
2. Cud Ba-rith
3. Respiratoty Flow
4. Cinema Saga
5. 9 to 5
6. Little Girl I’ll Miss You
7. Pi
8. Pad Thai
9. Flint
10. Sinews
11. Reflex
12. Fire Revisited
Steve Coleman – Alto saxophone
Jonathan Finlayson – Trumpet
Anthony Tidd – Bass
Sean Rickman – Drums
Recorded at Cully Jazz Festival 12 april 2013

Arrows Into Infinity

Charles Lloyd Quartet with John Abercrombie, Marc Johnson and Billy Hart

The Illumined One


“Charles Lloyd: Arrows into Infinity delves into the rise, fall, and rebirth of one of the world’s most revered jazz legends.

The film lovingly retraces the iconic jazz man’s humble beginnings, big-city triumphs, cross-over successes, and his ongoing spiritual journey through music, and features appearances by everyone from Robbie Robertson to Herbie Hancock to Ornette Coleman. “
Full film 113 minutes:
Released through ECM Records on DVD: http://bit.ly/1oqtKPk
and Blu-ray: http://bit.ly/V42EGy also available on amazon

Jamal Parker

1959 was the seismic year jazz broke away from complex bebop music to new forms, allowing soloists unprecedented freedom to explore and express. It was also a pivotal year for America: the nation was finding its groove, enjoying undreamt-of freedom and wealth social, racial and upheavals were just around the corner and jazz was ahead of the curve.

Four major jazz albums were made, each a high watermark for the artists and a powerful reflection of the times. Each opened up dramatic new possibilities for jazz which continue to be felt Miles Davis Kind of Blue Dave Brubeck, Time Out Charles Mingus, Mingus Ah Um; and Ornette Coleman, The Shape of Jazz to Come.

Rarely seen archive performances help vibrantly bring the era to life and explore what made these albums vital both in 1959 and the 50 years since. The programme contains interviews with Lou Reed, Dave Brubeck, Ornette Coleman, Charlie Haden, Herbie Hancock, Joe Morello (Brubecks drummer) and Jimmy Cobb (the only surviving member of Miles band) along with a host of jazz movers and shakers from the 50s and beyond.

Mars Kim·3 videos

Excerpt from NEA Jazz Masters Awards Ceremony & Concert on Jan 13, 2014
Source: http://new.livestream.com/jazz/neajaz…

Keith Jarrett is giving an acceptance speech that is about his definition of music and his opinion of what the most important for a musician in life is.

Rosario Sferrazza·134 videos


Jimmy Heath – Arranger

February 28, 2014

Loyola CFMAE·446 videos

Jazz Video Guy·1,300 videos

Richard DeRosa, who teaches jazz composition and arranging at the University of North Texas, has arranged and conducted music for Wynton Marsalis and the Lincoln Center Jazz Orchestra. Other arrangements have been recorded by the Mel Lewis, Gerry Mulligan, and Glenn Miller big bands, vocalist Susannah McCorkle,

Arranging is where a musician prepares and adapts an already written composition for presentation in other than its original form. An arrangement may include reharmonization, paraphrasing, and/or development of a composition, so that it fully represents the melodic, harmonic, and rhythmic structure. Arranging is the art of giving an existing melody musical variety.

Arrangements for small jazz combos are usually informal, minimal, and uncredited. This was particularly so for combos in the bebop era. In general, the larger the ensemble, the greater the need for a formal arrangement, although the early Count Basie big band was famous for its head arrangements, so called because they were worked out by the players themselves, memorized immediately and never written down. Most arrangements for large ensembles, big bands, in the swing era, were written down, however, and credited to a specific arranger, as were later arrangements for the Count Basie big band by Sammy Nestico and Neal Hefti. Don Redman made significant innovations in the pattern of arrangement in Fletcher Henderson’s orchestra in the 1920s. He introduced the pattern of arranging melodies in the body of arrangements and arranging section performances of the big band. Benny Carter became Fletcher’s main arranger in the early 30’s, moving on become as famous for his arranging expertise as his musicianship. Billy Strayhorn was an arranger of great renown in the Duke Ellington orchestra beginning in 1938.
Jelly Roll Morton is considered the earliest jazz arranger, writing down the parts when he was touring about 1912-1915 so that pick-up bands could play his compositions. Big band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions. Duke Ellington’s and Billy Strayhorn’s arrangements for the Duke Ellington big band were usually new compositions, and some of Eddie Sauter’s arrangements for the Benny Goodman band and Artie Shaw’s arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era.
After 1950, the big band trend declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late fifties and early sixties intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Steve Sample, Sr, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Gil Evans, Gordon Goodwin, and Ray Reach.

Basicallybenign·148 videos

“Out here to swing!” Fantastic concert appearance from the BBC Proms. Spoiled for me by Charles Hazlewood’s cringe-worthy commentary.
I love Swing!
July 2004.

Paul Andrews·129 videos

an intimate listen to two australian greats.
Peter Rechniewski says;
Paul and others, in the interests of historical accuracy please note that the above clip is not Jazz Co-op. It is a duo of Roger Frampton and Phil Treloar in a special performance for the Australian docu-drama about Australian modern jazz called “Beyond El Rocco” filmed between 1987 and 1991. The above clip was filmed in a “wharehouse” setting where several sequences/performances took place including one on a set which recreated the interior of the original El Rocco.

Not all the musical sequences were included in the finished cut and the ones that were, were not there in their entirety so the film makers decided to package all the music for sale in 3 separate volumes.

TheFrankVignola·51 videos

Frank Vignola – http://www.FrankVignola.com