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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Dena Derose picture

Dena DeRose Trio with special guest Donald Bailey
Dena DeRose, piano/vocals; Donald Bailey, harmonica/drums; Peter Barshay, bass; Akira Tana, drums

Saturday, August 2 | 8 pm | Campbell Recital Hall
Tickets: $40 general | $20 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

“Dena DeRose sings jazz as if she had been at it her whole life long, and then some. She interprets standards in a deliciously laconic, no-nonsense manner, accompanying herself on piano with hard swinging grace.” – The New York Times

Dena DeRose needs no introduction to Stanford Jazz Festival regulars. Her unmistakable vocal style and inventive piano playing have drawn excited crowds to Stanford for years. Trained as a pianist from a young age, DeRose saw her early career threatened when wrist surgery forced her to put aside her main instrument. Fortunately, one night she took a friend’s dare and sang onstage at a club. By the time her piano chops recovered, it was clear that her vocal talents gave her a unique perspective on the piano and vice versa. Dena’s energetic, swinging, piano is the perfect accompaniment to her nuanced vocal phrasing, and the interplay of her talents imbues her interpretations of standards, original tunes, and little-known gems with personality and sophistication. She can craft a song into a story with humor, joy, drama, and blues.

Dena DeRose web site

Q&A with Dena DeRose

What is the first recording you remember hearing as a child?
The first recording I remember as a child is a John Denver 8-track that my parents used to have in our Chevy station wagon.

What’s the strangest experience you’ve ever had on the bandstand?
The strangest experience I ever had on the bandstand was when I was playing in an all-female rock band called ‘The Look’ with drummer and leader of the all-female big band, ‘DIVA’. We were playing in a rat hole of a club in upstate NY and some older woman, who was dancing and VERY drunk, fell into my stack of keyboards, knocking all 3 of them into my lap... not one hit the floor (thankfully)!!! in the end, everyone was fine and laughing their heads off!! she said “it’ll be a story you can tell 20 years from now and still get a laugh (and, it’s’s more than 20 years later and at least I still laugh at it).

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
The musician I would most want to play with, in duo piano, is Mary Lou Williams. actually, I wouldn’t have minded the chance for her to accompany my singing, either...but when I first heard the recording of her with Cecil Taylor, I feel in love with her playing... and I always thought to myself that I would’ve loved to be in Cecil’s place. her creativity, musicality, energy, sense of time, sense of harmony, and her love for music has always been very inspiring to me.

Who is your greatest musical influence?
My biggest musical influence has to be Shirley Horn when a friend of mine introduced me to her records, then getting to see her live, meet her and talk with her many times before she passed. She made me see that singing and playing can be its own unique form of expression that is different than just singing, or just playing the piano. a hybrid, you could say.

What’s your favorite jazz venue?
My favorite jazz venue has to be the ‘Red Sea Jazz Festival’ in Elat, Israel. When I performed there a few years ago, it was the big festival that I played where the people reacted as if they were at a rock concert. There were about 10,000 people in the audience and huge screens everywhere where I saw myself and the band playing...then, they’d show the audience and the whole place had such an amazing energy!! Really wonderful!

If you were to describe your music as a color, what color would it be and why?
My original music has many colors. Sometimes I think it has a violet color, or a deep, dark red color, or sometimes it’s bright yellow or orange. I think it depends on the harmonic or melodic structure. different chord qualities, for me, have different colors to them as does ‘keys’ of melodies.

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