David Cecil

For their fourth release, a true Jazz supergroup, The Cookers, have swapped out saxophonist Craig Handy for Donald Harrison, raising the median age of the septet to just under 70. All of that longevity doesn’t mean complacency, however: The 69-year-old pianist George Cables, septuagenarians Eddie Henderson (trumpet), Billy Harper (tenor saxophone), Cecil McBee (bass) and Billy Hart (drums) and the Cookers’ two youngsters, Harrison (54) and trumpeter David Weiss (49) may bring well-defined personal styles to this ongoing project, but there’s nothing retro about them. The Cookers cook, all right, and if anything they’ve become even more assured, skillful and single-minded with each new offering.

« Play Blue est le troisième album que je produis et réalise avec mon partner in crime musical, le batteur David Grebil. Nous avons sélectionné des morceaux qui ont fait les grandes années du label Blue Note, pour en proposer une relecture vocale et des arrangements inédits.

Modern Library’s 100th best non-fiction book of all time, and John F. Kennedy’s favourite book.

This book uses the long and profitable career of Cecil B. DeMille to track the evolution of Classical Hollywood and its influence on emerging mass commercial culture in the US. DeMille’s success rested on how well his films presumed a broad consensus in the American public—expressed through consumer hedonism, faith, and an “exceptional” national history—which merged seamlessly with the efficient production methods developed by the largest integrated studios. DeMille’s sudden mid-career shift away from spectator perversity to corporate propagandist permanently tarnished the director’s historical standing among scholars, yet should not overshadow the profound links between his success and the rise and fall of mid-century mass culture.

This book uses the long and profitable career of Cecil B. DeMille to track the evolution of Classical Hollywood and its influence on emerging mass commercial culture in the US. DeMille’s success rested on how well his films presumed a broad consensus in the American public—expressed through consumer hedonism, faith, and an “exceptional” national history—which merged seamlessly with the efficient production methods developed by the largest integrated studios. DeMille’s sudden mid-career shift away from spectator perversity to corporate propagandist permanently tarnished the director’s historical standing among scholars, yet should not overshadow the profound links between his success and the rise and fall of mid-century mass culture.

Pianist/composer/arranger/bandleader David Berkman is a well-known recording artist on the New York scene as a leader, a sideman for many big names (Sonny Stitt, Tom Farrell, Cecil McBee) and as a teacher at Universities and Jazz Camps in the U.S, South America, Asia and Europe. Here, he performs 10 tracks with his regular sextet (plus guests) in a programme of original music having a wide spectrum of influences. The band has worked together for many years and Berkman, like Duke Ellington before, likes to write for his ensemble with individual players in mind.

David Schnitter's second of four Muse albums as a leader features the underrated hard bop tenor with a fine rhythm section consisting of the obscure keyboardist Hubert Eaves, bassist Cecil McBee and drummer Eddie Moore; the then-unknown trumpeter Claudio Roditi has guest appearances on two of the five selections. Eaves, Schnitter and Roditi contributed an original apiece which fit in quite nicely with an easy-swinging "My Funny Valentine" and the hotter "Night And Day." Fine straight-ahead music, but, as with all of David Schnitter's Muse recordings, this one has yet to be reissued on CD.