Stanford Jazz Workshop

Stanford Jazz Festival 2007
2008 Festival At A Glance
June 27   Terence Blanchard Quintet
June 28   Early Bird featuring Crosspulse Percussion Ensemble
June 28   Mary Stallings
June 29   3 Cohens
July 5   John Calloway Quintet
July 6   Everything you Wanted to Know About Jazz (But Were Afraid to Ask)
July 6   Sony Holland Plus Five
July 11   Mulgrew Miller
July 12   Early Bird with Jim Nadel
July 12   Kenny Burrell Quartet
July 13   Mel Martin and the Benny Carter Tribute Band
July 18   Gary Bartz Quartet featuring George Cables
July 19   The Whole Drum Truth
July 20   Yosvany Terry: Yedégbé—The Afro-Caribbean Legacy
July 21   Sandy Cressman and Homenagem Brasileira
July 22   Dayna Stephens Quartet
July 23   Andrew Speight's Bebop Night
July 24   Victor Lin and Friends
July 26   Geoffrey Keezer Quartet wtih special guest Joe Locke
July 27   Taylor Eigsti / Julian Lage Duo
July 28   Sylvia Cuenca Trio
July 29   Ruth Davies' Blues Night featuring Henry Butler
July 30   Ambrose and Friends
July 31   Tia Fuller and Healing Space
Aug 2   Dena DeRose Trio with special guest Donald Bailey
Aug 3   The Agosto Trio: Scofield / Grenadier / Stewart
Aug 4   Barry Harris / Charles McPherson Quartet
Aug 5   Jason Moran / Larry Grenadier / Richard Davis / Jeff Ballard
Aug 6   Delfeayo Marsalis & the Stanford Jazz Workshop Sextet
Aug 8   Stanford Jazz Workshop All-Star Jam Session
Aug 9   Fly + 1 with special guest Joshua Redman
36th Season
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Davies/Butler picture

Ruth Davies’ Blues Night featuring Henry Butler
Charles McNeal, tenor saxophone; Henry Butler, piano/vocals; Bennett Paster, organ/keyboard; Danny Caron, guitar; ; Ruth Davies, bass; Ndugu Chancler, drums

Take 5!Tuesday, July 29 | 7:30 pm | Dinkelspiel Auditorium
Tickets: $28 general | $14 students

Online: Ticketweb
By phone: 650.725.ARTS (2787); In Person: Stanford Ticket Office
For more information, go to our Ticketing Information Page

Program Notes

“Henry Butler is arguably the greatest living proponent of the classic New Orleans piano tradition, playing an amalgam of boogie-woogie, jazz, blues, and classical in the lineage of Professor Longhair, James Booker, Tuts Washington, Allen Toussaint and countless other emperors of the ivories…” – CMJ New Music Report

Ruth Davies’s annual Blues Night is always a highlight of the Stanford Jazz Festival. Davies is a bassist with rock-solid blues and jazz credentials, including performances with John Lee Hooker, Etta Jones, Charles Brown, and Van Morrison. This year her special guest will be New Orleans piano innovator Henry Butler, who seasons his blues with an eclectic variety of influences. After learning to play several instruments as a child at the Louisiana School for the Blind, Butler went on to study classical voice, earning a master’s degree. He also immersed himself in jazz and, with the encouragement of his mentor, clarinetist Alvin Batiste, Brazilian and Caribbean music. His recorded output includes everything from post-bop jazz piano trios to rocking electric blues, though recently he has returned to his roots, channeling his various influences into the blues of his native city. Called “the pride of New Orleans” by none other than Dr. John and a “piano genius” by All Music Guide, Butler released his first live recording on the New-Orleans based independent label, Basin Street Records, in April of this year.

Ruth Davies web site

Q&A with Ruth Davies

What is the first recording you remember hearing as a child?
Beethoven’s “Pathetique” Piano Sonata #8.

Who is your favorite jazz musician under the age of 30?
Julian Lage.

What job would you have if you weren’t a jazz musician?
A travel book writer.

What’s the strangest experience you’ve ever had on the bandstand?
Playing in a camel cave at a caravansary in Baku Azerbaijan with Toots Thielemans. (I can’t make something like that up! It was such fun.)

What’s your favorite food?
Mostly Asian cuisine. Anything, as long as it’s not Englsh!

What’s the most exotic place you’ve traveled to as a musician?
That would probably also be Azerbaijan, but Japan, Brazil and Hong Kong are pretty close.

What’s the last book you’ve read?
Cormac McCarthy’s “The Road.”

If you could play with any other musician, living or dead (with whom youhave not played), who would it be and why?
Brazilian singer Elis Regina (unfortunately no longer with us). I just love listening to her phrasing.

What’s your favorite tune?
Whatever I’m listening to a lot this week.

What’s your favorite thing about being a Stanford Jazz Workshop faculty member?
The kids faces at the end of Friday night.

What’s your favorite jazz venue?
In Europe, it’s L’inui in Luxembourg, and in the U.S. its the Dakota Bar in Minnesota. Both because of the people who run it and the people who come to listen.

Who is your greatest musical influence?
My mom and my high school music teacher, Bob Soder.

If you were stranded on a desert island and could only have three recordings with you, what would they be?
I just can’t choose, but among the possibilities would be Dori Cayammi’s “Kicking Cans”, Ray Brown’s “Summerwind” and Prokoffief’s “Romeo and Juliet”. If you ask me tomorrow, it will be completely different.

How much do you practice each week?
It totally depends on what project (or projects) I’m working on and what time is left over. Anywhere from hours a day to not too much.

What hobbies do you have?
Cooking, learning foreign languages (not too well, but quite a few now) and traveling when possible.

If you could be any other type of artist other than a jazz musician, what would you be and why?
Actor! I have to get it out somehow!

Do you have a favorite music-related joke (that can be told in mixed company!)?
Too many, but here’s one that involves the bass: How does a marriage counsler get couples to talk to each other? He invites a bass player to come in and play a solo.

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
My mother would practice classical piano after putting me to bed. I couldn’t sleep unless she was playing and then, when I was four years old, she took me to the Berkeley Piano Club to hear Bonnie Hampton play the cello and I was hooked! I became professional when I was in college and people kept giving me gigs. I couldn’t stop – it was like a drug. Now I don’t know how to do anything else, so I guess I’ll keep at it until I can learn how to do it right.

If you were to describe your music as a color, what color would it be and why?
The color changes with every piece of music (as well as changing within each piece of music).

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