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Conversations in the Language of Jazz by Harry Skoler (CD, 2008)
US $5.99
ApproximatelyAU $9.22
Condition:
Like new
An item that looks as if it was just taken out of shrink wrap. No visible wear, and all facets of the item are flawless and intact. See the seller’s listing for full details and description of any imperfections.
- Buy It NowConversations in the Language of Jazz by Harry Skoler (CD, 2008)
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Postage:
US $4.35 (approx. AU $6.70) USPS Media MailTM.
Located in: Suwanee, Georgia, United States
Delivery:
Estimated between Wed, 20 Aug and Tue, 26 Aug to 94104
Returns:
No returns accepted.
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Seller assumes all responsibility for this listing.
eBay item number:255640309214
Item specifics
- Condition
- UPC
- 0783572952228
About this product
Product Identifiers
Producer
Ed Saindon^Harry Skoler
Record Label
CD Baby, Cdb
UPC
0783572952228
eBay Product ID (ePID)
20046037468
Product Key Features
Release Year
2008
Format
CD
Genre
Jazz
Artist
Harry Skoler
Release Title
Conversations in the Language of Jazz
Dimensions
Item Height
0.40 in
Item Weight
0.25 lb
Item Length
5.60 in
Item Width
4.90 in
Additional Product Features
Number of Discs
1
Number of Tracks
15
Tracks
If I Had You, Stompin' at the Savoy, Memories of You, The Shining Sea, Somewhere, Sweet Lorraine, The Sweetest Sounds, Soon, I Wish I'd Met You, Treasures, El Cahon, Happiness Is, Recado Bossa Nova, Moonglow, Conversations in the Language of Jazz
Notes
Harry Skoler - Clarinet, Tenor and Alto Saxophone, Flute, Piano Ed Saindon - Vibraphone, Piano Roger Kimball - Bass Tim Gilmore - Drums Liner Notes Harry Skoler, born in Syracuse, N.Y in 1956, first heard Benny Goodman's solos played by his teacher Douglas Soyars during a clarinet lesson in 1971. ln Professor Soyar's attempt to introduce Harry to the language of jazz, an old transcription of Goodman's solo from the tune 'Grand Slam' was assigned for study. Mostly to appease Soyars, the transcription was practiced, and played at the next lesson in the style of a classical piece (the only style Harry was familiar with). Soyars proceeded to take the clarinet from Harry's hands, and wailed through the transcribed solo like a hot knife through butter. Ears singed from this spiritual awakening, Harry ran to pick up his first Goodman record. After repeated listenings, he told his family that evening that he aspired to be a jazz clarinetist. Twenty four years have passed since that day in the small basement studio where those first licks introduced Harry to the language of jazz. Schools were attended, careers changed, cities moved to and from, and the addition of saxophone, flute, and piano to his arsenal of voices. However, the voice of the clarinet is still the deepest voice in his heart. Harry graduated from Berklee College of Music in 1978, having studied with Joe Viola, Andy McGhee, and Greg Badolato. During a three year period in Nashville, Tennessee, he performed with his jazz groups, taught privately, and played in the studio for the first time. Ln 1982, he became intrigued with architecture, and decided to study at Syracuse University. Although studying architecture proved interesting and challenging, Harry began to escape from the late night design sessions and participate in local jam sessions. A year later, music was once again the sole pursuit of his life, and with renewed commitment to becoming a jazz musician, he enrolled at New England Conservatory. Here he studied clarinet, saxophone, flute, and composition with the legendary Jimmy Giuffre, and began performing with jazz groups throughout New England. Harry graduated in 1986 with a Master of Music degree in Jazz Studies. In addition to his quartet, he performs with Adventures With Jazz, educating young people in the language of jazz throughout New England. He has performed with the casts of 'Ain't Misbehavin' and 'Nunsense', ' and has recorded for television and numerous other projects. His jazz quartet illuminates Harry's passion for the clarinet, 'conversing' with vibraphone, bass and drums. The quartet additionally features Harry on saxophone, flute, and piano, and performs both original music as well as music from the Great American Songbook, and of course. . . The music of Benny Goodman (played and arranged with the quartet's distinct approach). The clarinet tends to be more a footnote than a specialty for most players of reed instruments on today's jazz scene. Harry Skoler understands it's endangered species status in jazz and in his own expressive way is working to reverse it. 'The clarinet is a very difficult instrument to stick with in a group, ' he explains. 'People can step all over it.' That doesn't happen in Skoler's New England based quartet, where the clarinet is his axe of preference though he sometimes doubles on the saxophones, flute and piano. While building his group and finding his sound over the past half dozen years, a special affinity developed between Skoler's clarinetics and the vibraphone playing of Boston jazz veteran Ed Saindon. Like the flip sides of a coin, like yin and yang, these two instruments were made to be played together While they often share space in larger musical ensembles, rarely have clarinet and vibes been showcased with the empathy heard on this session, including three very fine duets (Memories Of You, I Wish l'd Met You, and Moonglow). With no short shrift intended for bassist Roger Kimball and drummer Tim Gil
Item description from the seller
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- g***g (844)- Feedback left by buyer.Past 6 monthsVerified purchaseGreat puzzle! Shipped quickly and just as described. Box was in great condition with no missing pieces.
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