Handbrake?. . .

. . . not exactly . . .


(from https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=define%20third-hand
third-hand
ˌTHərdˈhand/
adjective
1.
(of goods) having had two previous owners.
"a thirdhand dinner suit"
2.
(of information) acquired from or via several intermediate sources and consequently not authoritative or reliable.
"the accounts are third-hand, told years after the event"
adverb
1.
from or via several intermediate sources.
"I heard about the case thirdhand"


(from https://en.wikipedia.org/wiki/Break_(music))
Break
In popular music, a break is an instrumental or percussion section during a song derived from or related to stop-time – being a "break" from the main parts of the song or piece.

A solo break in jazz occurs when the rhythm section stops playing behind a soloist for a brief period, usually two or four bars leading into the soloist's first chorus. A notable recorded example is Charlie Parker's solo break at the beginning of his solo on "A Night in Tunisia".

In DJ parlance, a break is where all elements of a song (e.g., pads, basslines, vocals), except for percussion, disappear for a time. This is distinguished from a breakdown, a section where the composition is deliberately deconstructed to minimal elements (usually the percussion or rhythm section with the vocal re-introduced over the minimal backing), all other parts having been gradually or suddenly cut out.




3rd Hand (Break)
Me practicing Third-Hand Intelligence in preparation for OHO's September Ocean City Weekend





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OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak.  Please Visit http://www.ohomusic.com 


My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music is now available at - Just More Music by Ray Jozwiak

(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser:  http://http://www.cdbaby.com/Artist/RayJozwiak)

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A little . . .

for your pleasure . . .

AMBIENCE & WINE, a digital-download release of new music will be available at http://www.cdbaby.com on APRIL 3, 2012. AMBIENCE & WINE contains a palette of aromas and flavours which complement any dish or occasion.  

 Some say. . .
". . .  His playing is technically outstanding and highly imaginative; I am always amazed that he manages to get back to resolve each piece without bursting out to infinity and beyond!"  Rod Deacey, Board Member of the Frederick Acoustic Musicians Enterprise (FAME), Musician, Performer, Writer, Poet, Organizer, Emcee, Bluesman (11/20/11)

". . . consistently creates aural pictures intelligently, pleasantly, and whimsically, and that's just within one song"  (Ron Goad, SAW, FAME, BMI)

". . . conjures the spirits of Thelonious Monk and a host of stride pianists" (John Lewis, Baltimore Magazine)

"His sense and choice of rhythm is always appropriate and interesting. . . "  (Jim Nash, Music Monthly)

". . . one can hear little snippets of this and that running throughout his work, just enough to put you in the mind of a long forgotten favorite before he turns it inside out or upside down. . . "  (Joe Hartlaub, Music-reviewer.com)


from AMBIENCE & WINE
©2011 Raymond M. Jozwiak



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Everybody digs. . .

William John Evans, known as Bill Evans (August 16, 1929–September 15, 1980)

His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist. Evans had a distinct playing style in which his neck would often be stooped very low, and his face parallel to the piano.

Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of 1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurlean Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army. After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.


Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for Billy the Kid" and "All About Rosie," are notable for Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original version of "Waltz for Debby," for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone.

In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans's introspective approach to improvisation deeply influenced Davis's style.

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios — and jazz bands in general — of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.

(from Wikipedia.com)

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ANOTHER SHOT
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