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Bob Albanese

Primary Instrument: Piano

Bob Albanese

Albanese, a perpetual student, was granted a scholarship in 2002 to complete a B.M. and M.M. at the prestigious Manhattan School of Music in Jazz Composition. He met the challenge head on and while under the M.S.M. umbrella composed a number of new works including a Jazz Philharmonic piece entitled “Samba Esperança” that was performed by the Cincinnati Conservatory Philharmonic in April of 2006. He completed his formal degrees, BM and MM in May 2006 graduating with honors, receiving the William C. Borden award [for outstanding achievement in the field of Jazz].

Equally at home in jazz, Latin, pop, and theatrical musical settings, Jazz Pianist Bob Albanese has worked with a wide stylistic cross section of artists, many of considerable fame. Some of the notables he has performed, arranged and/or recorded with include Anita O’Day, Buddy Rich, Warne Marsh, Rita Moreno, Herb Ohta, Datevik Hovanesian, Leslie Uggums, Daphne Rubin Vega, Bill Watrous and a host of other Jazz artists ranging from Cab Calloway to Freddie Hubbard to Branford Marsalis.

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Awards

William C. Borden award [for outstanding achievement in the field of Jazz]
”Bob Albanese is a rhymer, a poetic soul whether he is thinking and talking or composing and playing. He has all the requisites-harmonic acumen, melodicism and swing. With all that he has nuance, that certain something that gives him distinction. He’s not radical, or fanatical but artistically he’s never on sabbatical.” --Ira Gitler (Jan. 2009), jazz historian and journalist, former New York editor of Down Beat magazine. He was given the Lifetime Achievement Award by the Jazz Journalists Association.

“Bob is a wonderfully creative pianist and his CD -One Way/Detour- proves it. He not only has a firm grasp on standards, his compositions are most interesting and he is someone who is not a traditionalist but knows the tradition which is a compliment I do not use very often. Bob was a Composition student of mine at Manhattan School of Music and is also a very creative orchestrator and arranger. More people should know about Bob Albanese.” --Michael Abene, Grammy winning Composer, Arranger, Producer and currently the Musical Director (Chefdirigent) of the WDR Big Band of Cologne, Germany on the 15th Nov. 2008

“One Way / Detour”: “Nice work! Fine playing by all, thoughtful originals, and a few non-hackneyed others. Nice to again hear Ira Sullivan, whom I haven’t heard or seen in a number of years.” --Bill Kirchner, WBGO 88.3FM, Autumn 2008

“I thoroughly enjoyed Bob’s originality, harmonic and rhythmic depth and fluency of ideas” --Clare Fischer, the legendary pianist and composer after hearing a solo performance Bob gave in Los Angeles in 2006.

  • One Way / Detour

    Zoho Music
    2009
    BUY
  • One Way/Detour

    Zoho Music
    2009
    BUY

This information is provided by discogs.com or the profile administrator.

Primary Instrument:
Piano

Location:
Bronx, NY

Willing to teach:
Beginners

Credentials/Background:
1) Where do you/ did you teach?

New York University, Mannes College The New School, Manhattan School of Music (ensembles), Five Towns College, Master classes throughout former Yugoslavia i.e. the Balkans: Albania, The Republic of Kosovo, Serbia, Croatia, Slovenia, Montenegro, Bulgaria. I also teach privately and I do video conference lessons through Skype.


2) What do you/ did you teach?

Jazz improvisation, composition, harmonic, melodic and rhythmic development, clavé, 'the language of music' especially as it evolves through, of and into the essential Jazz Canon, the blues. the latin tinge. modes, compositional devices, constant note value improvisation, interpreting standards, jazz tunes: a vehicle for improvisation vs. set composition, ear training, arranging, musical story telling.


3) What do you like to teach during the masterclass?

I do a variety of things. A good set up would be to have at least 2 pianos and a chalk board, preferably with musical staffs but adequate if not. Drums, amps and music stands would be helpful for instrumentalists other than pianists. All instruments welcome. Knowledge of treble and bass clef, note values, chords, chord symbols, are recommended.


4) Some of the activities would be (not necessarily in this order):

a) discussion of everyones needs as pertains to improvisation, especially relating to the jazz tradition, BUT NOT LIMITED TO THE JAZZ TRADITION.

b) trading solo choruses back and forth.

c) chalk board explanations of the devices to be used in the actual playing demonstrations and group exercises.

d) the conflux of opposites as it relates to intervals relationships, consonance and dissonance in chord building and melodic (linear) development.

Clinic/Workshop Information:
1) Where do you/ did you teach?

New York University, Mannes College The New School, Manhattan School of Music (ensembles), Five Towns College, Master classes throughout former Yugoslavia i.e. the Balkans: Albania, The Republic of Kosovo, Serbia, Croatia, Slovenia, Montenegro, Bulgaria. I also teach privately and I do video conference lessons through Skype.


2) What do you/ did you teach?

Jazz improvisation, composition, harmonic, melodic and rhythmic development, clavé, 'the language of music' especially as it evolves through, of and into the essential Jazz Canon, the blues. the latin tinge. modes, compositional devices, constant note value improvisation, interpreting standards, jazz tunes: a vehicle for improvisation vs. set composition, ear training, arranging, musical story telling.


3) What do you like to teach during the masterclass?

I do a variety of things. A good set up would be to have at least 2 pianos and a chalk board, preferably with musical staffs but adequate if not. Drums, amps and music stands would be helpful for instrumentalists other than pianists. All instruments welcome. Knowledge of treble and bass clef, note values, chords, chord symbols, are recommended.


4) Some of the activities would be (not necessarily in this order):

a) discussion of everyones needs as pertains to improvisation, especially relating to the jazz tradition, BUT NOT LIMITED TO THE JAZZ TRADITION.

b) trading solo choruses back and forth.

c) chalk board explanations of the devices to be used in the actual playing demonstrations and group exercises.

d) the conflux of opposites as it relates to intervals relationships, consonance and dissonance in chord building and melodic (linear) development.

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