BOH BAND GOSPEL

http://www.allmusic.com/artist/boswell-sisters-p3085/biography

Definitely the most talented and arguably the all-around best jazz vocal group of all time, the Boswell Sisters parlayed their New Orleans upbringing into a swinging delivery that featured not only impossibly close harmonies, but countless maneuvers of vocal gymnastics rarely equalled on record. Connee (sometimes Connie), Helvetia (Vet), and Martha Boswell grew up singing together, soaking up Southern gospel and blues through close contact with the black community. They first performed at vaudeville houses around the New Orleans area, and began appearing on local radio by 1925. At first, they played strictly instrumentals, with Connee on cello, saxophone and guitar; Martha on piano; and Vet on violin, banjo, and guitar. The station began featuring them in a vocal setting as well, with Connee taking the lead on many songs (despite a childhood accident that had crippled her and left her in a wheelchair). 

Word of their incredible vocal talents led to appearances in Chicago and New York, and the Boswell Sisters began recording in 1930 for Victor. By the following year, they'd moved to Brunswick and reached the Hit Parade with "When I Take My Sugar to Tea," taken from the Marx Brothers' film Monkey Business and featuring the Dorsey Brothers Orchestra in support. The trio continued to work with many of the best jazzmen in the field (including Eddie Lang, Joe Venuti, and Bunny Berigan), and appeared in the 1932 film extravaganza The Big Broadcast with Bing Crosby and Cab Calloway. The Boswell Sisters hit the top of the Hit Parade only once, in 1935, with "The Object of My Affection" from the film Times Square Lady. One year later however, both Martha and Vet retired from the group in favor of married life. 

Connee had already made a few solo sides for Brunswick as early as 1932, and she continued her solo career in earnest after the Boswell Sisters parted. She hit number one twice during the late '30s, with the Bing Crosby duets "Bob White (Whatcha Gonna Swing Tonight?)" and "Alexander's Ragtime Band," and continued recording into the '60s. 


The Boswell Sisters - Shout sister shout

Brass Magnolia Suite (1999) trumpet, horn, bass trombone and percussion. 25 min. Commissioned for the Ellen Taaffe Zwilich Young Composers Workshop in Carnegie Hall, April 10-12, 1999. 
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Brass Magnolia Suite (1999) for trumpet, horn, bass trombone and percussion was largely inspired by Nash's residency in Mississippi, the Magnolia State.
Being that Mississippi, particularly the northwest part of the state known to most as the Mississippi Delta, is very rich in musical traditions, Nash chose to use some of these same traditions as the basis and major premise for my composition. For the most part, Brass Magnolia Suite is based on Mississippi Delta blues tunes and bird songs of those indigenous to the region. Such birds include the mockingbird, wood thrush, common crackle and the meadowlark. For my utilizations of these bird songs, as well as blues tunes, I took rhythms and melodic contours of each and manufactured melodies and motives of my own.

While Brass Magnolia Suite is not meant to be programmatic, the five movements, which are arranged in a traditional fast-slow-fast-slow-fast format, all depict either a particular experience I’ve had or a natural occurence here in Mississippi. The first movement, “Fanfare”, is based on the mockingbird’s song. The second movement, “Homage to the Armadillos”, incorporates the song of the wood thrush. The third movement, “Catfishery”, is supported by the tune “Catfish Blues” and the common grackle’s song. The fourth movement, “Song of the Meadowlark”, is exactly what it suggests and the fifth movement, “The Gospel”, is based on the gospel blues tune “John, the Revelator”.

Brass Magnolia Suite (1999) trumpet, horn, bass trombone and percussion/jazz drum set

Dixieland version of well known American gospel hymn. Sounds very positive, modern and uplifting!
Plays "Penza Dixie Band" : 
Trumpet - S.Lusin
Trombone - I.Borisov
Soprano Sax - O.Gorbunov
Banjo - R.Maskaev
Tuba - S.Gadach
Drums - G.Mironov

When The Saints Go Marching In

Gênero: Samba_Jazz_Gospel
Pandeiro: Rafael Toledo
Trombone's/Violão: Eduardo Johansen

Grandioso és Tu

Featuring:
Ronnie McCoury-Mandolin
Mark Braud-Trumpet
Charlie Gabriel-Clarinet
Clint Maedgen-Saxophone
Freddie Lonzo-Trombone
Carl Leblanc-Banjo
Rickie Monie-Piano
Joe Lastie-Drums
Ben Jaffe-Tuba

American Legacies is a vibrant meeting between two legendary bands representing two uniquely American forms of music: New Orleans jazz and traditional bluegrass. The Preservation Hall Jazz Band, a 50-year-old institution, and Del McCoury’s band smoothly intertwine their styles on a mix of original compositions and traditional tunes. Some tracks lean a bit closer to one style or the other but all of the songs mesh like they’re part of one musical family, revealing how much jazz and bluegrass have in common, especially the importance of improvisation as shown by the jaw-dropping skill of these musicians. The standard “I’ll Fly Away” begins with a gospel feel before veering into bluegrass territory and back again, Hank Williams’ “Jambalaya” rides a classic New Orleans second-line groove, and the Del McCoury-penned “Banjo Frisco” is a reminder that the banjo was used in jazz ensembles decades before the birth of bluegrass. And the joyous interplay among the musicians is the best part of this project, a joyous tribute to both bands.

Milenberg Joys

Three dynamic brothers from Brazil: Rafael Rocha, Renato Rochaand Roger Rocha(‘‘R3’‘) and their ‘‘Special Big Band’‘ (incredibly talented Brazilian musicians) turn up the heat on this wonderfully played Brazilian flavoured delight.

BOH BAND GOSPEL

marcelo