richmond jazz festival Reviews & Opinions
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I'm not sure what to think. When I go to the melody lineup, not all the musicians are listed. Find doesn't search the missing ones either. However if you go to the scene listings there they are. Some examples Johnny Sansone, Deke Harp and Jonathan Boogie Long. A lot of others are also missing. So you have to go scene by scene to see everyone who is playing. What's up with that?
Fix the meal listings I haven't looked at melody but i couldn't search trout baquet in food. I know it's that and i know it's small dizzy's. But neither of those things is indexed. It also looks like there's no cafe au lait in heritage square. All the foods should be indexed individually by name. The pictures arent doing anything for me but i imagine they may for some
Blah! I found this application to be close to useless. The map is horrible. Would be much better with a easy PDF map instead of a Google map that gives you no details. The grid view of the melody is unreadable with the pictures taking up too much space. Overall, barely helped at all.
Only useful if you haven't got a paper schedule The application doesn't even remove stuff you have missed already. You are better off with a paper schedule if you wish to see everything at a particular time. So this application is really only useful in an emergency. But you could just use the PDFs in your dropbox or something.
Missing one key feature I just download the application and I like that it will save me from carrying around pages of info such as schedules, maps, etc. I just want that I could login to the application and see the schedule that I've made on the Jazz Fest website.
Heard about the Barkers on NPR. Danny Barker had an awesome musical adventure and place it down in book. They played a chop from this cd with Blu Lu singing "Don't Touch My Leg." that created me wish the cd. The first part with Mrs Barker is the best. Too much talking between songs when it is Danny's turn. But all in all a fine live recording.
Recorded live at the 1989 Fresh Orleans Jazz & Heritage Festival, this is the only live recording of which I'm aware which features not only Blue Lu but also Danny Barker. Not really separate tracks, this is a continuous performance, probably at the Economy Hall tent, and contains the Barkers' "Don't You Fell My Leg" hit from 1938 and a couple of the same tracks later recorded by Danny on the "Save The Bones" CD. If you never got a possibility to see these folks while they lived, they were special racanteuours, griots, entertainers. I see the Amazon shows the disc as "out of stock" - I picked mine up from a remainders bin in the French Market, so I don't know if you'll easily search it - but it's worth looking for.
Bill Evans, p; Eddie Gomez, b.; Jack DeJohnette, is album occupies a special put in the Evans recording catalogue. It’s the only album to document drummer Jack DeJohnette’s too short stay in the trio. By the time it was recorded, live in Montreux, Eddie Gomez and Evans had been playing together for two years. Gomez provided a various brand of virtuosity to that offered by Scott LaFaro in Evans’s classic trio of five years earlier but he was clearly the best bass player Evans had worked with since LaFaro’s tragic death. The groove between the two was deep and comfortable, so comfortable that in this set, Evans did something he hadn’t done before, at least on a recording: he showcased Gomez for an entire piece, the almost seven min long “Embraceable You.” I want I appreciated the piece more than I do but I don’t. I don’t feel it matches with the tone set by the group playing as a whole. But there’s no question that Gomez is a virtuosic player and his playing on the rest of the cuts –both solos and backing Evans in trio—is right Johnette was the wild card of this session, the most propulsive player to play with Evans as a regular member of the trio. Philly Joe Jones (Evans’s favorite drummer) and the inventive Shelly Manne had recorded with Evans before then but Philly Joe didn’t stay with Evans and Manne was too busy with studio work to commit to a regular gig. The consequence was that between Paul Motian and Jack DeJohnette, Evans worked with drummers who were minimalists –Larry Bunker (a fairly amazing one) and Arnold Wise (a boring one). DeJohnette was explosive and that was amazing for Evans, who required shaking up occasionally to avoid slipping over into almost-saccharine. DeJohnette’s drumming behind Evans on this recording is restless and explorative and much more intrusive than the drumming of his immediate predecessors. He shifts tempo and timbres constantly. It doesn’t sound wrong for the group: DeJohnette has always had huge ears for what the people around him are playing-- but it forced Evans to play more aggressively and thus more inventively. If you wish a comparison, listen to saxophonist Lee Konitz on Motion, his trio album with Elvin Jones: Jones’s restless, propelling drumming drove Konitz out of his comfort zone. As a result, the alto player played melody that was far from limpid, the charge sometimes levied versus him. Well, here in this set, you will hear an Evans playing hotter than he had fallen into the habit of doing, and it suits him ere are ten tunes on the album. Eight feature the trio, two are solo piano: Denny Zeitlin’s “Quiet Now” and “I Loves You, Porgy”. “Porgy” is especially interesting to listen to because Evans had recorded the song with his trio five years before in the justly acclaimed Village Vanguard sessions. He had recorded one of the trio selections on this album, “Nardis”, then as well in studio, and another selection, “Someday My Prince Will Come”, was a staple of the Miles Davis group during the time of Evans’s tenure with Davis.Evans was as amazing a technician on the piano as we’ve had since Art Tatum passed away. His touch and approach to songs are immediately recognizable: rich and inventive left-hand harmonies and chording, crystal clear single note lines with right hand. His worst albums are a bit, though not a lot, pretty, sometimes predictable. His best are revelatory. This set is one of the best.
Bill Evans plays with some true firepower on this CD, then lays back into some sweet ballads. The quick, aggressive playing of Eddie Gomez and playful, dancing drums of Jack DeJohnette sit nicely with the upbeat numbers. Bill gets to take some ballads by himself as well. This is really some amazing items from creature performers. It left me wanting more - unlike some of my other Bill Evans re-mastered CD's, there are no gift cuts on this merous amazing points aside, it did surprise me that this album earned a Grammy from the Recording Academy. Listening to this CD as a recording enthusiast was frustrating to me. In the full band numbers, the most prominent sounds were the clicking of the bass and the stick hitting the ride cymbal. The tone of the piano and bass were kind of buried in the background. The state of the art in live jazz recordings was well beyond this point (listen to some of the live recordings of Charlie Parker and Duke Ellington on Ultimate 16:Jazz Cafe ASIN: B000BF0E00), so the sound quality falls short of my expectations. Also, as unbelievable a bass player as Eddie Gomez is, I don't have fun a lot of long bass solos, especially when they are difficult to hear. Finally, repeated listening suggests some rhythmic tugs-of-war between Evans and DeJohnette - neither one plays "wrong", but their "beat placements" (front of the beat, back of the beat) seem to diverge a ese points aside, this CD is a fine effort by Bill Evans and his band that gives a better perspective on his broad range of expression than his more subdued works.
In better than amazing condition. I was very happy with how clean this record looked and played. It's now my go-to melody for thinking things over, and it's created my life much more relaxed and centered. Thank you to the folks who sold it to me, and thank you Bill Evans for the timelessness of "Time Remembered".
Bill Evans would score another blockbuster hit with this magnificent live album that was recorded at the Montreux Jazz Festival in 1968, the same year it was released to rave reviews. A Grammy Award champion for Best Jazz Instrumental for Group Or Solo Performance (for a second time), At The Montreux Jazz Festival would give the critics and listeners a unbelievable and thrilling experience that you would come to expect from an ambitious live jazz album. This masterpiece feature a various trio that consists of two rising young players: noted session bassist Eddie Gomez and drummer Jack De- Johnette, hardly the ideal man for the event, as the trio push the live performance into it’s most exhilarating form. The superb track listing would not only contain versions of standards, including A Sleeping Bee, Nardis, The Touch Of Your Lips and Quiet Now, but new compositions, like One For Helen, Mother Of Earl and Walkin’ Up, so thanks to the trio’s new originality and in part of DeJohnette--who was hardly their ideal man for the position, the trio pushes Evans into his caliber form. As the critic Brian Priestly (who saw the trio in action) writes in the liner notes, the live album “provided historical perspective on Bill Evan’s stellar performances with these amazingly complementary” sidemen, which would describe the timeless merit and artistic beauty of this landmark masterpiece. An intriguing facet of this set is the method he performs the ballad material alone so well on I Loves You, Porgy and Quiet Now, while the trio sway right through the live set. Produced with class and honour by Helen Keane, At The Montreux Jazz Festival will always remain as timeless and spellbinding as ever.
There have been a multitude of recordings from the Montreux Jazz Festival over the years. This is one of the first I ever heard and it remains my favourite. From the introductions to the trio in French (which somehow adds to the magic of the recording) right through to the latest notes this is a classic e trio with Jack De Johnette and Eddie Gomez only existed for a short period of time but you'd never guess it from these recordings. The recording quality is crisp and sharp, baring in mind its 40 years old and the selection of material is an eclectic mixture of standards with a couple of Evans own originals (One for Helen & Walkin' Up) thrown in for amazing measure.Highlights for me are the unbelievable solo Piano rendition of 'I Loves You Porgy', which is the finest ver of this Gershwin classic I know regardless of melody genre. You can hear Evans marvellous touch and attractive phrasing throughout this track. Second favourite is a surprisingly fiery ver of 'Someday My Prince Will Come'.Be in no doubt there are no weak tracks on this album and highlights abound thoughout it. Only time prevents me from writing about every single track.
This is the only recorded live example of the short-lived trio Bill Evans had with Jack DeJohnette and judging from Bill's playing on this, it's a pity. Outside of drummer/friend Philly Jo Jones, Evans has rarely played with as much fire as he does here, not to discredit his regular bassist at the time, the perfect Eddie Gomez, but it's no surprise that this record won a Grammy for Best Jazz Performance. All the tracks shine but in particularly, Evans & company deliver such an impassioned performance of the Miles Davis modal tune, "Nardis", that one left me breathless. I could never understand why the succeeding drummer, the overly busy Marty Morell, stayed on so long with Bill. He lacked the precision and drive of DeJohnette, Philly Jo and Paul Motian and as such was a liability rather than an asset to the trio. Recommended for Evans fans definitely.
I bought this in vinyl (obviously) in 1973, when I was 17, and I've been listening to it and loving it ever since. Could there be a higher compliment? Although my LP is in surprisingly amazing shape, I'm thrilled that it's been re-issued as a CD. I bought two ulful, unpretentious, un-affected, intimate, candid, organic Afro-Brazilian jazz. The musicians are effortly masterful, without losing personality. They play android games with each other, wrap melodies and percussion around each other, and provide the listener with pleasure, stimulation, and reward after reward. There are moments of humor, climaxes with the crowd roaring approval, and sponteneity is anks to this album, I've been listening to Brazilian jazz for three decades. I have fun all the usual old suspects, Jobim, Joao, Getz, Gilberto, but Bola Sete at Monterey is personal, raw-er, more authentic. I hesitate to call Getz/Gilberto "contrived", but next to the sponteneity of Bola Sete, a lot of of the better known samba practitioners feel.. um, kind'a "smooth", if you catch my meaning.
The first track, which is 17 mins long, is pure excitement, and captures a very unique time in our musical history. I've listened to the rest of the album several times without anything standing out as memorable, and "Satin Doll" is quite disappointing. There's still time for the rest of the album to grow on me, but even if it doesn't, the first track should just not be missed!
This is a long overdue and terrific album by Bola Sete. I remember listening to some of his recordings during the 1950's in Cuba and I believe he traveled to Havana and performed on Cuban television. He was well known and admired everywhere. I'm glad I wrote to Fantasy Records in late 1996 or early 1997 and requested they release Bola's recordings with Vince Guaraldi on CD format. In 1998 the CD "From All Sides" with Vince and Bola was released. I'm glad to see it started a "revival" or re-issues of his recordings here and elsewhere. Bola Sete was and still is my favorite Brazilian guitarist and musician. His musical concepts and arrangements paved the method for the Bossa Nova. "Bola Sete Live at the 1966 Monterey Jazz Festival" is a unique treat to all of us who saw and heard him perform in the "good old days". I'm also very satisfied that we have heard from Anna Sette and that she reviewed this amazing CD re-issue on my birthday, May 26! What a attractive coincidence! At long latest we can have fun Bola's amazing recordings!
I can only imagine what it must have been like to be in the audience at the Monterey Fairgrounds in September of 1966(I wasn't since I wasn't born yet! )when this awesome performance was recorded. The energy is so immediate and intense that it's hard to believe that there's only three musicians playing here. Sete plays along side bassist Sebastiao Neto and drummer Paulinho DaCosta, then relatively unknown but today is one of the most recorded musicians in history, look at the credits of any major album recorded in the latest twenty five years, and you'll probably search his name. This long out of print album is back with three unreleased tracks and sounds wonderful. A must have if you love Brazilian jazz.
05-25-00: This is an awesome album, out of print for 30 years. It represents the peak of Bola's playing of the Brazilian/American Jazz milieu. It is a classic recording. /It even has Bola speaking on the CD! Buy it while it's available.
Amazing Application but seems like there is no concept of QC on content, excuse my remark if it is a beta version. Its official so each word should be accurate and true. NONE of pack is accuratly described i.e. check Super Duper monthly for example its not 50 but 100 other network minutes. Are you a serious company?
Every time to view call sms history security code needed to be given. If I like to manage my sim from other mobile set this app is useless and each and every time asking for security code. if the developer could edit this feature that once login remain for unlimited time like My Ufone application
hey Can I ask you is this application only available for jazz users? like I am ufone customer now I wish to order Jazz sim but when i installed the application this is giving me a note technical problems Like why? How do I order a Jazz sim
application is amazing but please create sure that when any one enter the app, application must wish transaction password to log in to the app. it will sure that if my cell phone is with some one other but he will not be able to log in.
aik dafa ufone ki app visit kro aur khudaraaa hamain same wese app bana k doo kia bachoo wali application bana di.hai ap ne bht zayada access dain customer ko uske numbers kre bare ma multiple number ki option dain user name aur password wala conncept dain ye kia huwa jab b kch krna de sms ma aa raha hai
it does not present me my jazz money free mints.and sms... add that it...please fix it...and it show...all pakage..which are available on my sim. like free s..which are given by jazz daily... i hope...you will give me +ve respounce..
the developer who create this application is huge fool does not know what to do how to do and when to do jazz is a really huge company in front of others company but in this application making they are failed Zong and telenor application is much much better then this