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Reviews
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Personaggio pittoresco e dal look stravagante, Delmar Brown e’ nella sostanza un musicista serissimo, molto attento alle evoluzioni del jazz e pronto a cogliere gli stimoli che provengono dal altri generi. Cresciuto a Bloomington, Illinois, suonando ogni tipo di strumento a tastiera ed in particolare l’ organo in chiesa come accompagnatore dei cori di musica religiosa, e’ passato anche lui come tanti altri per le aule della Berklee a Boston. Nella sua educazione musicale un ruolo speciale hanno avuto, come ispiratori e modelli, Jimmy Smith, Herbie Hancock e Oscar Peterson. A Umbria Jazz lo conobbero bene nel 1987 perche’ faceva parte della fantastica orchestra di Gil Evans che si esibiva ogni notte a San Francesco al prato, ma contemporaneamente suonava, nelle piazze del centro storico, con il suo gruppo Bushrock. Spesso, a sentirlo appoggiato alle transenne, c’ era proprio il vecchio Gil con l’inseparabile nastrino indiano fra i capelli bianchi. Brown e’ stato un pilastro dell’ orchestra di Evans anche dopo la morte del leader, e con quella formazione e’ tornato in Umbria. Un altro momento importante della carriera di Delmar e’ stata la partnership con il genio del basso elettrico, Jaco Pastorius, documentata da qualche registrazione per etichette minori, per non parlare della collaborazione con Miles Davis e Quincy Jones. Il suo interesse per il rock lo ha portato a suonare spesso con personaggi come Youssou N’Dour, Sting e Peter Gabriel. Total Victory e’ il suo ultimo progetto in cui si propone anche come cantante e naturalmente songwriter, suonando un genere molto piu’ vicino al rock che al jazz.
- Lista completa degli artisti
Associazione Umbria Jazz |
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What the CRITICS are Saying |
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May 5th 2006
"FOUR STARS (Highest Rating). Unquestionably the hottest new album of the year is Delmar Brown's TOTAL VICTORY. Brown is a phenomenally gifted talent; it's merely a matter of time before he becomes a household name. TOTAL VICTORY is an amazing, inspired debut bursting with stunning exuberance unlike anything I've heard in a long, long time. You'll find yourself wanting to listen to it again and again. TOTAL VICTORY indeed."
-Todd David Schwartz, CBS |
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DELMAR Interview in 5/16/06 Metro Edition - Los Angeles |
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The World Pop Experience:
Exclusive Interview with Keyboardist Delmar Brown:
LA Magazine, May16, 2006
Vol. 9, No. 19
With the kinds of collaborations that keyboardist Delmar Brown has partaken in with the best pop & jazz musicians of our time, one would imagine that he, too, would be closing in on "household name" status. His recognition is concentrated in the jazz community, but, in his own words, "sometimes a good cake takes time to bake." Delmar recently moved to L.A., ready to make his mark on our town. This exclusive interview sheds light on his past & future.
"I started off in the church playing Gospel music [in Bloomington, Illinois], and went from blues to rock, then jazz. As I went through school, I made myself acquainted with Classical music, then started looking at World music, Indian music, African music and Cuban music. I needed music food. I needed to taste other dishes, other spices, and that kept me excited about music, inspired."
"My [1976 recording on Pat Martino's record] was the big start. I [did] a lot of touring with that, and then things started to snowball. I went on to play with Jaco Pastorious for five years. Then Sonny Rollins, and then the Gil Evans Orchestra. I did a gig with Gil Evans at Umbria Jazz [Italy,1987] and Sting was on that show. When I got back to New York, I got a call from [Sting's] management. I [played with] Sting for two years. We went to Brazil, we did the Amnesty International tour with him and Peter Gabriel and Bruce Springstein and Youssou N'Dour and Tracy Chapman. Branford Marsalis was in the group and Kenny Kirkland. Then the music industry started changing. I got signed with Sony with my own project in Italy. The first single [was] released, and then my manager died in a car crash. With his untimely death, my project stopped. In January 2000, I went on tour again with the Gil Evans Orchestra in Europe."
Since then, Delmar has produced his energetic Total Victory record and most recently, he has developed his World Pop Experience band for a one-night only performance at The Roxy on May 24th. On drums, Tal Bergman (Billy Idol, Rod Stewart, Peter Gabriel). On bass, Carmine Rojas (Stevie Wonder, Tina Turner, Keith Richards). Toshi Yanagi on guitar (Men at Work, Nona Hendrix). Fred Kron (Dweezil Zappa) on keys. And more.
"I'm trying to use the gift I have of music to give something back. Maybe I can sing about something that will make somebody feel good, so that I may open up some light in their life. If it sells a million records, that's great. But if I have a lot of happy faces in front of me, I will have completed my job." |
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The Right Cord at Blue Note |
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New York Post; New York; Sep 17, 1999; Chip Deffaa;
Copyright New York Post Corporation Sep 17, 1999
BILLED as "Guitar Heaven," the Blue Note's double-bill of John Scofield and Pat Martino was slow in getting off the ground Tuesday. But Martino justified the night.
Former Miles Davis-bandmate Scofield, who's opening the double- bill, is, along with Pat Metheny and Bill Frisell, one of the most popular contemporary jazz guitarists. And I've praised his expressiveness in the past. But his music Tuesday felt glib.
He played a couple of originals, so new he hadn't bothered selecting names for them yet, plus numbers from the recent CD he recorded with Medeski, Martin and Wood for Verve, "A Go Go."
And, though Medeski, Martin and Wood weren't present Tuesday, their laid-back spirit seemed to be.
Scofield settled into pleasant-enough, mindless grooves. I didn't find enough to keep my interest engaged, any more than I might in a typical "let's just simmer along" Medeski, Martin and Wood set.
Martino, by contrast, came out burning. A meticulous player, even at the briskest of tempos, his deftly articulated up-tempo opener, "Uptown Downtown," signaled he was in prime form.
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He created the most magic reprising his late '70s specialty, "Joyous Lake." It had an irresistible forward momentum.
Playful keyboardist Delmar Brown (from Martino's original "Joyous Lake" band of the '70s), propulsive drummer Kenwood Dennard, buoyant sax player Eric Alexander and electric bassist Emanuel Gatewood shared in the triumph.
Martino's hard-won comeback is among the most gratifying of stories in jazz.Diagnosed in 1980 with a brain tumor so threatening he was told he had just days to live, he was saved via an operation that wound up costing him much of his memory.He spent years re-learning the guitar, trying to copy his old records. When he finally resumed public appearances, in 1986 and '87, it was saddening to see him so far below his past level.
In the '90s, he reached his earlier degree of mastery once again. Scofield referred to Martino Tuesday as "my idol. It's an honor to share the bill with him. I won't watch him play tonight, or I wouldn't be able to play myself."
Blue Note, 131 W. Third St., (212) 475-8592; $30 cover/$5 minimum; 9 and 11:30 p.m., through Sunday. |
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