The jazz clinic series at LIU Brooklyn features established and emerging musicians who are recognized in their fields, and who have made a commitment to teaching as well as performing. Our diverse jazz clinics series has featured a wide range of clinicians from NEA Jazz Master vocalist Sheila Jordan to Grammy Award winning drummer Jeff "Tain" Watts. Our series provides our students the unique opportunity to work side by side with these top professionals, and to learn from their years of performing experience and teaching methodology.
The series takes place on select Tuesdays, from 4:00-6:00 PM in the Barbara Elliot Performing Arts Studio, RM H-106 in the Humanities Building. All clinics are free and open to the public. For more information about the series, please contact Sam Newsome at firstname.lastname@example.org or 718-488-1000, ext. 1874.
Kevin Hayes: Tuesday, October 1, 2013
Jazz Pianist and composer Kevin Hays has now recorded over a dozen CD’s as a leader and has been featured on many recordings as a sideman. His recordings have been listed as among the ‘Top 40 Jazz Releases of the Year’ by Musician Magazine and praised by The New York Times. In the mid-nineties he began recording for Blue Note Records and made several critically acclaimed CD’s for that label.
Over the past 15 years, Kevin has performed widely with his trio that includes bassist Doug Weiss and drummer Bill Stewart. The trio’s first CD in 2001, ‘What Survives’ (recently re-issued on Hays’s own NDS Records) included arrestingly beautiful arrangements of classical works by Johannes Brahms, Robert Schumann and Anton Webern along with his own compositions.
In addition to recording and touring with the trio, Kevin has long been considered ‘first call’ by some of the most prominent and influential musicians in Jazz. These include Sonny Rollins, John Scofield, Benny Golson, Roy Haynes, Chris Potter, Al Foster, Joe Henderson and Joshua Redman.
After a 4-year hiatus from recording during which time he moved to Santa Fe, New Mexico, Kevin returned to NY and to the studio. The resulting 2006 recording ‘For Heaven’s Sake’, devoted entirely to The Great American Songbook, received widespread acclaim including being awarded the French ‘Coups de Coeur’ Prize and ‘Best of the Year’ by The New Yorker Magazine.
On his 2009 recording ‘You’ve Got A Friend’, Kevin and the trio brilliantly re-work both Jazz and Folk classics of Carole King, Paul McCartney, Charlie Parker, Thelonious Monk, Bob Dorough among others.
Sheila Jordan : Tuesday, November 19, 2013
Raised in poverty in Pennsylvania's coal-mining country, Jordan began singing as a child and by the time she was in her early teens was working semi-professionally in Detroit clubs. Her first great influence was Charlie Parker and, indeed, most of her influences have been instrumentalists rather than singers. Working chiefly with black musicians, she met with disapproval from the white community but persisted with her career. She was a member of a vocal trio, Skeeter, Mitch And Jean (she was Jean), who sang versions of Parker's solos in a manner akin to that of the later Lambert, Hendricks And Ross.
After moving to New York in the early 50s, she married Parker's pianist, Duke Jordan, and studied with Lennie Tristano, but it was not until the early 60s that she made her first recordings. One of these was under her own name, the other was “The Outer View” with George Russell, which featured a famous 10-minute version of "You Are My Sunshine".
In the mid-60s her work encompassed jazz liturgies sung in churches and extensive club work, but her appeal was narrow even within the confines of jazz. By the late 70s jazz audiences had begun to understand her uncompromising style a little more and her popularity increased - as did her appearances on record, which included albums with pianist Steve Kuhn, whose quartet she joined, and an album, Home, comprising a selection of Robert Creeley's poems set to music and arranged by Steve Swallow.
A 1983 duo set with bassist Harvie Swartz, “Old Time Feeling”, comprises several of the standards Jordan regularly features in her live repertoire, while 1990's “Lost And Found” pays tribute to her bebop roots. Both sets display her unique musical trademarks, such as the frequent and unexpected sweeping changes of pitch, which still tend to confound an uninitiated audience. Her preference to the bass and voice set led to another remarkable collaboration with bassist Cameron Brown, whom she has been performing with all over the world for more than ten years so far and they have released the live albums “I’ve Grown Accustomed to the Bass” and “Celebration”. Entirely non-derivative, Jordan is one of only a tiny handful of jazz singers who fully deserve the appellation and for whom no other term will do. Copyright 1989-2000 Muze UK Ltd