Bill Ohashi | Fantasia / Ugetsu

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Fantasia / Ugetsu

by Bill Ohashi

In the tradition of Blue Note jazz recording from the 60s to the 80s, this all star unit swings and romps through stellar compositions by alumni of Art Blakey & The Jazz Messengers, played by New York City's top jazz soloists & arrangers.
Genre: Jazz: Mainstream Jazz
Release Date: 

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1. What Know
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7:17 $2.33
2. Our Thing
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6:33 $2.33
3. Ojos de Rojo
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8:18 $2.33
4. Ernie's Tune
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6:41 $2.33
5. Fantasia/Ugestu
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7:17 $2.33
6. Fee-Fi-Fo-Fum
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5:13 $2.33
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ABOUT THIS ALBUM


Album Notes
Bill Ohashi's experience as a prolific and well-heeled trombonist in the New York City (NYC) and international jazz, chamber classical, show and latin fields is extensive, giving his leadership qualities focus and his musical concept and intelligence order and definition. Bill's arranging style and watchfull direction give 'The Bridge Sextet' their characteristic sound, all of which stems from Bill's many influences from his years of associations with such important groups early on like Willie Clon, Eddie Palmieri, Larry Harlow, Machito, and great jazz and pop leaders such as Slide Hampton, Bruce Fowler (Frank Zappa), Ray Charle's Big Band, Thad Jones-Mel Lewis Jazz Orchastra, Charlie Mingus, Paul Butterfield Blues Band, Eddie Kendricks & The Tempations, Gil Evans, and Franki Valli & The Four Seasons.

Bill's versatiliy stems at it's source from this exposure to exeptional, broad-based music taught at Julliard, Mannes College, U. of Penn., Berkley School of Music, and bandstands in NYC, New England and the southern corridor, giving Bill opportunities to teach at NYC's Third Street Music School, Henry Street Settlement, Boy's Harbor, New England Conservatory, Metropolitan School of Music and many others. In formative years, Bill was making jam sessions in NYC with such well-known jazz-legends as Kenny Dorham (Minton's & NYU), Roy Eldridge (Small's Paradise & Bowman's Showplace), Charlie Mingus (East Village Inn & Jazz Loft), Jack DeJohnette/Joe Henderson (The Dom), Jaki Bayard (The Electric Circus), Carla Bley (Upsuge & Blue Wave Studio), George Cables / Lenny White / Billie Cobham (Slug's) and Art Blakey's Messengers (in the U.S. and Europe).

After educating himself and paying his dues in road bands, still retaining a burning desire to play on the NY scene as a professional, Bill found himself getting his steady salaries mainly from more commercial pop bands and contracting with backing orchestras for popular artists such as Frankie Valli & The Four Seasons, Marvin Gaye, The Spinners, Aretha Franklin, The Four Tops, Jay & The Americans, The OJays and Stevie Wonder. Helping contract and play at rock-galas at Madison Square Garden, NYC, as well as an ocassional broadway show ('Man of La Mancha', The Wiz, Starlight Express and Ain't Misbehavin'), or steady, good-paying Latin-Salsa Orchestras like Hector Lavoe, Larry Harlow, 'Chocolate' and Celia Cruz, kept Bill real busy for twenty years or so. His experience in clubs, concerts, recordings and traveling began to expand Bill's creative arranging and improvistional skills as the assignments became more plentiful and challenging; Gil Evans, Cuck Israels, Thad Jones - Mel Lewis Jazz Orchestra, The Band, Yoko Ono, James Taylor, Chico O'Farril, Joe Farrel / Elvin Jones and substitution gigs on "Saturday Nite Live'', to name a few.

After a move to the west caost and a short hiatus from playing, the legendary Ray Charles wisely gave Bill the opportunity to join his band on the road for about a year, bringing Bill back into the working music scene; Bill subsequently toured Europe three times with Lionel Hampton, playing around NYC and begining his own record label, EAR Records. Recently relocated to South Florida, Bill is exploring the scene and appearing with the likes of Mark Doyle, Patti Wicks, Susan Merrit, Anthony Corrado and the Phil Silverman.

Websites
http://www.EARRecords.com
http://www.sonicbids.com/jazz/billohashimambojazzi/
http://www.gigmasters.com/jazz/billohashimambojazzi/

Bill Ohashi's experience as a prolific and well-heeled trombonist in the New York City (NYC) and international jazz, chamber classical, show and latin fields is extensive, giving his leadership qualities focus and his musical concept and intelligence order and definition. Bill's arranging style and watchfull direction give 'The Bridge Sextet' their characteristic sound, all of which stems from Bill's many influences from his years of associations with such important groups early on like Willie Clon, Eddie Palmieri, Larry Harlow, Machito, and great jazz and pop leaders such as Slide Hampton, Bruce Fowler (Frank Zappa), Ray Charle's Big Band, Thad Jones-Mel Lewis Jazz Orchastra, Charlie Mingus, Paul Butterfield Blues Band, Eddie Kendricks & The Tempations, Gil Evans, and Franki Valli & The Four Seasons.

Bill's versatiliy stems at it's source from this exposure to exeptional, broad-based music taught at Julliard, Mannes College, U. of Penn., Berkley School of Music, and bandstands in NYC, New England and the southern corridor, giving Bill opportunities to teach at NYC's Third Street Music School, Henry Street Settlement, Boy's Harbor, New England Conservatory, Metropolitan School of Music and many others. In formative years, Bill was making jam sessions in NYC with such well-known jazz-legends as Kenny Dorham (Minton's & NYU), Roy Eldridge (Small's Paradise & Bowman's Showplace), Charlie Mingus (East Village Inn & Jazz Loft), Jack DeJohnette/Joe Henderson (The Dom), Jaki Bayard (The Electric Circus), Carla Bley (Upsuge & Blue Wave Studio), George Cables / Lenny White / Billie Cobham (Slug's) and Art Blakey's Messengers (in the U.S. and Europe).

After educating himself and paying his dues in road bands, still retaining a burning desire to play on the NY scene as a professional, Bill found himself getting his steady salaries mainly from more commercial pop bands and contracting with backing orchestras for popular artists such as Frankie Valli & The Four Seasons, Marvin Gaye, The Spinners, Aretha Franklin, The Four Tops, Jay & The Americans, The OJays and Stevie Wonder. Helping contract and play at rock-galas at Madison Square Garden, NYC, as well as an ocassional broadway show ('Man of La Mancha', The Wiz, Starlight Express and Ain't Misbehavin'), or steady, good-paying Latin-Salsa Orchestras like Hector Lavoe, Larry Harlow, 'Chocolate' and Celia Cruz, kept Bill real busy for twenty years or so. His experience in clubs, concerts, recordings and traveling began to expand Bill's creative arranging and improvistional skills as the assignments became more plentiful and challenging; Gil Evans, Cuck Israels, Thad Jones - Mel Lewis Jazz Orchestra, The Band, Yoko Ono, James Taylor, Chico O'Farril, Joe Farrel / Elvin Jones and substitution gigs on "Saturday Nite Live'', to name a few.

After a move to the west caost and a short hiatus from playing, the legendary Ray Charles wisely gave Bill the opportunity to join his band on the road for about a year, bringing Bill back into the working music scene; Bill subsequently toured Europe three times with Lionel Hampton, playing around NYC and begining his own record label, EAR Records. Recently relocated to South Florida, Bill is exploring the scene.

Websites
http://www.EARRecords.com
http://www.sonicbids.com/jazz/billohashimambojazzi/
http://www.gigmasters.com/jazz/billohashimambojazzi/
http://www.thejazznetworkworldwide.com/profile/BillOhashi
http://groups.yahoo.com/boppers/froup.html


Reviews


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Dacence Jazz Magazine

"Packed with concise solos...One can hear the musicians' respect for the music a
"Packed with concise solos...One can hear the musicians' respect for the music & tradition of the Art Blakey's Jazz Messengers.
Reviewer: Richard B. Kamins (click for website)
Cadence Magazine--"Fantaia/Ugetsu" E5/24-26/95 "Ampullae of Lorenzini"--Bill Ohashi and the 'Bridge Sextet, Bill Ohashi & the Neo-Bop Sextet Here we have two dates led by a trombonist that covers decades of Creative Music. As far as I can tell, these are debuts for this man as a leader. Bill Ohashi plants his music in the fertile feilds of Art Blakey's Jazz Messengers. Five of the six tracks are written by players who worked with Buhaina except for the three Ohashi originals on 'Ampullae'. The sextet that the trombonist assembled features several strong soloists and they really light into the music. Lee Morgan's,"What Know", opens the program and 'fours' everyone a chance to blow. Ohashi has a sound and very melodic. Richard Vitale's trumpet work cracles while David Scnitter's tenor sound has a nice heft to it. The front line trades "fours" with the drummer (Drory Mondlak) and gets into the spirit of the piece. Joe Henderson's,"Our Thing", is pushed into high gear by the drumming of Mike Clark. The title tune shows the group in a more harmonic mode. Cedar Walton's handsome melody leaves space for the lovely bass line which is the prime moving force of the piece. The one ballad in the program is Fred Lacey's,"Ernie's Theme". The blend of Schitter's tenor playing the melody and Ohashi's trombone counterpoint is a nice touch. The tenor solo that follows is quite lovely. Basically, "Fantasia/Ugetsu" and "Ampullae of Lorenzini" are "blowing" sessions. The tracks are medium length packed with concise solos. The two CDs are masterfully executed & show Ohahsi's musical arranging and improvised jazz concepts. One can hear the musican's respect for the music and tradition of Art Blakey's Jazz Messengers. Ohashi has contributed to the archive of Contemporay `American-Jazz with these two fine CDs.
Reviewer: Richard B. Kamins (click for website)
Cadence Magazine--"Fantaia/Ugetsu" E5/24-26/95 "Ampullae of Lorenzini"--Bill Ohashi and the 'Bridge Sextet, Bill Ohashi & the Neo-Bop Sextet Here we have two dates led by a trombonist that covers decades of Creative Music. As far as I can tell, these are debuts for this man as a leader. Bill Ohashi plants his music in the fertile feilds of Art Blakey's Jazz Messengers. Five of the six tracks are written by players who worked with Buhaina except for the three Ohashi originals on 'Ampullae'. The sextet that the trombonist assembled features several strong soloists and they really light into the music. Lee Morgan's,"What Know", opens the program and 'fours' everyone a chance to blow. Ohashi has a sound and very melodic. Richard Vitale's trumpet work cracles while David Scnitter's tenor sound has a nice heft to it. The front line trades "fours" with the drummer (Drory Mondlak) and gets into the spirit of the piece. Joe Henderson's,"Our Thing", is pushed into high gear by the drumming of Mike Clark. The title tune shows the group in a more harmonic mode. Cedar Walton's handsome melody leaves space for the lovely bass line which is the prime moving force of the piece. The one ballad in the program is Fred Lacey's,"Ernie's Theme". The blend of Schitter's tenor playing the melody and Ohashi's trombone counterpoint is a nice touch. The tenor solo that follows is quite lovely. Basically, "Fantasia/Ugetsu" and "Ampullae of Lorenzini" are "blowing" sessions. The tracks are medium length packed with concise solos. The two CDs are masterfully executed & show Ohahsi's musical arranging and improvised jazz concepts. One can hear the musican's respect for the music and tradition of Art Blakey's Jazz Messengers. Ohashi has contributed to the archive of Contemporay `American-Jazz with these two fine CDs.