Featured SlideMeister Member - July 2015
David Naiditch
David Naiditch
Although I've never actually met Mr. Naiditch in person, I've always been impressed with the style of music he pursues as well of his flagrant disregard for what some folks try to say the Chromatic just "ain't good for." Yeah, right! :o) David Naiditch is a perfect example of a musician, not bound by perception, or afraid to explore aspects of our favorite little instrument's capabilities, whether or not anyone has tried it before; and with great success I might add. So, SlideMeister's proud to feature Mr. David Naiditch for the month of July.
a.j.fedor
a.j.fedor
David has been part of the Los Angeles music scene for many years. He started with the blues and eventually delved into other genres: bluegrass, country swing, and Django Reinhardt-inspired Gypsy jazz.
David's musical journey began in the early ‘60s, when he was tutored on the diatonic harmonica by the legendary blues icon Sonny Terry. In the mid-1960s, he taught harmonica at the Ashgrove, a club that was the focal point of the Los Angeles folk music revival. Years later, he taught and performed at other venues in the Los Angeles area, such as McCabe’s Guitar Shop, Boulevard Music, the Coffee Gallery Backstage, and Viva Cantina.
In the mid-’90s, David started focusing on the chromatic harmonica. He honed his skills by attending numerous music jams and gigs, armed only with a chromatic in the key of C. By playing in all keys, David became comfortable playing by ear and improvising in many styles of music.
In 2005, David produced and played harmonica and guitar on his first CD, Harmonica and Guitar Duets, which covers diverse types of music, including blues, swing, Klezmer, ragtime, and country. In 2008, he produced the CD, High Desert Bluegrass Sessions, with bluegrass greats, banjoist Pat Cloud, guitarist Eric Uglum, fiddler Christian Ward, and bassist Austin Ward. In 2010, he released Bluegrass Harmonica that features his harmonica, and includes virtuoso breaks by Pat Cloud, Eric Uglum, and guitarist Steve Trovato. In 2012, he released Douce Ambiance: Gypsy Jazz Classics, featuring his jazz harmonica with the fiery guitar lines of Gonzalo Bergara, and the jazz 5-string banjo playing of Pat Cloud. In 2014, he released the instrumental CD, Bluegrass in the Backwoods, featuring virtuosos Rob Ickes, Stuart Duncan, Ron Block, Dennis Caplinger, Sierra Hull, Christian Ward, Jake Workman, and others.
David's musical journey began in the early ‘60s, when he was tutored on the diatonic harmonica by the legendary blues icon Sonny Terry. In the mid-1960s, he taught harmonica at the Ashgrove, a club that was the focal point of the Los Angeles folk music revival. Years later, he taught and performed at other venues in the Los Angeles area, such as McCabe’s Guitar Shop, Boulevard Music, the Coffee Gallery Backstage, and Viva Cantina.
In the mid-’90s, David started focusing on the chromatic harmonica. He honed his skills by attending numerous music jams and gigs, armed only with a chromatic in the key of C. By playing in all keys, David became comfortable playing by ear and improvising in many styles of music.
In 2005, David produced and played harmonica and guitar on his first CD, Harmonica and Guitar Duets, which covers diverse types of music, including blues, swing, Klezmer, ragtime, and country. In 2008, he produced the CD, High Desert Bluegrass Sessions, with bluegrass greats, banjoist Pat Cloud, guitarist Eric Uglum, fiddler Christian Ward, and bassist Austin Ward. In 2010, he released Bluegrass Harmonica that features his harmonica, and includes virtuoso breaks by Pat Cloud, Eric Uglum, and guitarist Steve Trovato. In 2012, he released Douce Ambiance: Gypsy Jazz Classics, featuring his jazz harmonica with the fiery guitar lines of Gonzalo Bergara, and the jazz 5-string banjo playing of Pat Cloud. In 2014, he released the instrumental CD, Bluegrass in the Backwoods, featuring virtuosos Rob Ickes, Stuart Duncan, Ron Block, Dennis Caplinger, Sierra Hull, Christian Ward, Jake Workman, and others.
About Bluegrass Harmonica
David once half-jokingly remarked that harmonica players are about as welcome at bluegrass jams as the mosquitoes that come to feast. Indeed, many bluegrass folks consider the harmonica a questionable instrument, although it is certainly better established in bluegrass than instruments such as the clarinet or saxophone.
What makes David's approach different is that, unlike other bluegrass harmonica players who use diatonic harmonicas, David exclusively uses the chromatic harmonica. The chromatic harmonica can produce a sweet, fiddle-like sound and handle fast, intricate melodies. Since David uses a C chromatic to play in all keys, he can deal with tricky chord changes and key transitions without having to quickly switch harmonicas. Since the chromatic provides all the notes without having to bend or over-blow, the timbre of each note isn't dictated by the instrument, but is controlled by the player. David believes that keeping the same tone and timbre throughout a tune is often desirable in bluegrass.
About Gypsy Jazz Harmonica
In the 1930s, Belgian guitar virtuoso Django Reinhardt, together with French violinist Stephane Grappelli, formed the Hot Club of France and introduced the world to Gypsy jazz. Gypsy jazz is typically acoustic music featuring the guitar, but often includes the violin, bass, and accordion. It tends to be played in the sharp keys instead of the flat keys favored by horn players. The stringed instruments typically provide percussion instead of drums. The music is often fast and fiery, but and be melodic and sublime.
Some claim that Gypsy jazz is Europe’s greatest contribution to jazz. Although the Gypsy jazz played today is typically classified as a type of jazz, it often has a strong European folk element with rhythms, instrumentation, and guitar techniques that are unique to the genre.
The chromatic harmonica is rarely used in Gypsy jazz, but it does have some history. Django recorded several tunes with chromatic harmonica virtuoso Larry Adler and played with the jazz harmonica pioneer, Max Geldray. Today, straight-ahead jazz players, including jazz harmonica players, sometimes dabble in Gypsy jazz, but most have to work hard if they really want to capture the feel and peculiarities of this genre.
David is one of the few harmonica players who specialize in Gypsy jazz. David feels the harmonica works especially well because it can sound a lot like an accordion and at times can mimic the violin.
On David's CD, Douce Ambiance: Gypsy Jazz Classics, his harmonica playing is accompanied by the intricate guitar lines of Gypsy jazz virtuoso Gonzalo Bergara, and the unmatched 5-string banjo playing of the legendary Pat Cloud. The harmonica and banjo help make this CD unique to the world of Gypsy jazz.
Links:
CDBaby: http://www.cdbaby.com/Artist/DavidNaiditch
iTunes: https://itunes.apple.com/us/artist/david-naiditch/id286050755
Amazon: http://www.amazon.com/s/ref=ntt_srch_drd_B004DABPCU?ie=UTF8&field-keywords=David%20Naiditch&index=digital-music&search-
Elderly Music: http://elderly.com/search/elderly?terms=david+naiditch&x=0&y=0
Website: http://www.davidnaiditch.com
62 YouTube Videos: https://www.youtube.com/user/DNaiditch
Gypsy Jazz
https://www.youtube.com/watch?v=367SVDO0io8&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&index=4
https://www.youtube.com/watch?v=Rd31iL0Qojk&spfreload=10
https://www.youtube.com/watch?v=kqK_-lGtWWc&index=2&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&spfreload=10
https://www.youtube.com/watch?v=Po-Rha9wp7M&index=16&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&spfreload=10
https://www.youtube.com/watch?v=8IqhMamp1GU&index=6&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&spfreload=10
https://www.youtube.com/watch?v=djSvUPy9wxc&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&index=17&spfreload=10
Bluegrass
https://www.youtube.com/watch?v=mP9WRD0xCnU&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&index=2&spfreload=10 https://www.youtube.com/watch?v=vNTDfOidhzk&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&index=36&spfreload=10
https://www.youtube.com/watch?v=ZoKepRcgq1o&index=4&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&spfreload=10
https://www.youtube.com/watch?v=WbI5ka6qHw4&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&index=16&spfreload=10
David once half-jokingly remarked that harmonica players are about as welcome at bluegrass jams as the mosquitoes that come to feast. Indeed, many bluegrass folks consider the harmonica a questionable instrument, although it is certainly better established in bluegrass than instruments such as the clarinet or saxophone.
What makes David's approach different is that, unlike other bluegrass harmonica players who use diatonic harmonicas, David exclusively uses the chromatic harmonica. The chromatic harmonica can produce a sweet, fiddle-like sound and handle fast, intricate melodies. Since David uses a C chromatic to play in all keys, he can deal with tricky chord changes and key transitions without having to quickly switch harmonicas. Since the chromatic provides all the notes without having to bend or over-blow, the timbre of each note isn't dictated by the instrument, but is controlled by the player. David believes that keeping the same tone and timbre throughout a tune is often desirable in bluegrass.
About Gypsy Jazz Harmonica
In the 1930s, Belgian guitar virtuoso Django Reinhardt, together with French violinist Stephane Grappelli, formed the Hot Club of France and introduced the world to Gypsy jazz. Gypsy jazz is typically acoustic music featuring the guitar, but often includes the violin, bass, and accordion. It tends to be played in the sharp keys instead of the flat keys favored by horn players. The stringed instruments typically provide percussion instead of drums. The music is often fast and fiery, but and be melodic and sublime.
Some claim that Gypsy jazz is Europe’s greatest contribution to jazz. Although the Gypsy jazz played today is typically classified as a type of jazz, it often has a strong European folk element with rhythms, instrumentation, and guitar techniques that are unique to the genre.
The chromatic harmonica is rarely used in Gypsy jazz, but it does have some history. Django recorded several tunes with chromatic harmonica virtuoso Larry Adler and played with the jazz harmonica pioneer, Max Geldray. Today, straight-ahead jazz players, including jazz harmonica players, sometimes dabble in Gypsy jazz, but most have to work hard if they really want to capture the feel and peculiarities of this genre.
David is one of the few harmonica players who specialize in Gypsy jazz. David feels the harmonica works especially well because it can sound a lot like an accordion and at times can mimic the violin.
On David's CD, Douce Ambiance: Gypsy Jazz Classics, his harmonica playing is accompanied by the intricate guitar lines of Gypsy jazz virtuoso Gonzalo Bergara, and the unmatched 5-string banjo playing of the legendary Pat Cloud. The harmonica and banjo help make this CD unique to the world of Gypsy jazz.
Links:
CDBaby: http://www.cdbaby.com/Artist/DavidNaiditch
iTunes: https://itunes.apple.com/us/artist/david-naiditch/id286050755
Amazon: http://www.amazon.com/s/ref=ntt_srch_drd_B004DABPCU?ie=UTF8&field-keywords=David%20Naiditch&index=digital-music&search-
Elderly Music: http://elderly.com/search/elderly?terms=david+naiditch&x=0&y=0
Website: http://www.davidnaiditch.com
62 YouTube Videos: https://www.youtube.com/user/DNaiditch
Gypsy Jazz
https://www.youtube.com/watch?v=367SVDO0io8&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&index=4
https://www.youtube.com/watch?v=Rd31iL0Qojk&spfreload=10
https://www.youtube.com/watch?v=kqK_-lGtWWc&index=2&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&spfreload=10
https://www.youtube.com/watch?v=Po-Rha9wp7M&index=16&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&spfreload=10
https://www.youtube.com/watch?v=8IqhMamp1GU&index=6&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&spfreload=10
https://www.youtube.com/watch?v=djSvUPy9wxc&list=PLrvCCf_mjsijhRCT5vtTtQg5HtoE-jar9&index=17&spfreload=10
Bluegrass
https://www.youtube.com/watch?v=mP9WRD0xCnU&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&index=2&spfreload=10 https://www.youtube.com/watch?v=vNTDfOidhzk&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&index=36&spfreload=10
https://www.youtube.com/watch?v=ZoKepRcgq1o&index=4&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&spfreload=10
https://www.youtube.com/watch?v=WbI5ka6qHw4&list=PLrvCCf_mjsijMmVsOVu2UOmNiUKnkZfX3&index=16&spfreload=10
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Featured SlideMeister Member August 2015
Neil Adler
eil Adler is yet another SlideMeister member who is more than just an occasional participant. He's a working professional and we're happy to be able to feature him for the month of August.
a.j.fedor
a.j.fedor
Neil Adler was born in Detroit Michigan a few miles and 6 months from Stevie Wonder and Aretha Franklin. His grandfather, a concert violinist from Kiev, Russia emigrated to New York but forgave an offer with the N.Y. Met to pursue engineering in the booming auto industry. His father, an amateur pianist, and mother, a professional singer, filled the house with the best of jazz. When he was 7 they purchased a Gulbransen organ which came with four free lessons. On meeting the teacher, she listened to him pick melodies and songs and told them she couldn't teach him anything. That was the end of his early musical education. Detroit was then a vibrant music scene full of Motown Pop, Gospel and R&B. A classmates' father was the maintenance man for 'Hitsville USA' (Motown to be) which was 3 houses on West Grand Blvd. owned by Berry Gordy who began to record local talent including the Supremes, Temptations, Smoky Robinson and Little Stevie Wonder, Visiting the studio he met Stevie and saw the Contours recording 'Can You Do It' ('you broke my heart, cuz I couldn't dance, but now I can really shake it down.) in the famed Studio A. Music was everywhere and one night you could visit the Twenty Grand Club, a $5, bring your own liquor, ghetto room and hear Albert King, B.B. KIng and Lightnin' Hopkins. and on another, at the famed Grande Ballroom, hear The Supremes 'vs.' Martha and the Vandellas with middle act Holland-Dozier-Holland with guest Stevie Wonder.
Attending Wayne State University in the inner city, he pursued his studies without giving any thought to a career in music. He supported himself with gigging with a rock band. The drummer, Jack Daniels, (his actual name), invited him to audition for an unusual gig with Dino Kouloulas and his Bazouki band who had a monopoly on the Detroit Greek Orthodox church, weddings and parties. After learning the 5/8, 7/8 and 9/8 grooves he auditioned and became the band organist. He began to study harmony with Teddy Wilson, arranger for the Supremes and Paul Butterfield Blues Band, taught himself blues harp and taught music in the Free University.
His last year in Detroit he joined a studio band "Howl The Good', signed to Motown and recorded an LP in England at Island Studios of the Beatles. Giving up the psychedelic life of rock music in the 70's he moved to California for graduate school at Stanford.
During his medical training he immersed himself in the Bay Area jazz scene, meeting, playing and studying with nearly all the piano luminaries. Mentors included Smith Dobson, Russ Ferrante, Paul Nagel, Mark Levine, Rebecca Malleon, Art Lande, Don Haas, Dick Hindman, Paul Potyen, Bill Bell, Dave Matthews and Ellis Marcellis. He took master classes with Bill Evans, Fred Hersh, Dan Haerle, George Cables and Kenny Werner. Performances favored his own trio with sidemen including the bay areas best such as Jeff Chambers and Eddie Marshall, accompanying singers including Madeline Eastman, Margie Baker, Morning Nichols, Freddie Strong and subbing with institutions such as Pete Escovedo and Mel Martin. Interest in Latin music led to travel and research through out the world. He was part of the first San Francisco music delegation to Cuba in 1991, returning in 2010 to study with 'Pupi" Pedroso, Nelson Diaz and Yosavany Terry and performing at the renown
National School of the Arts in Havana. Opportunities with Salsa Orchestras that resulted included Tumbao y Cuerdas, Orchestra de Moderna Tradicion, Claudia Villela, Orquestra Actualidad, Tito y Su Orchestra International, and Fito Reynoso. Living and playing in South America and Brazil expanded his knowledge of this important influence on American Jazz and was followed by stays with multiple local groups including Chalo Eduardo and Escola Nova de Samba, Marcos Santos, Alegria etc. Continuing to pursue the rhythmic elements of jazz he recently he became organist for Mt. Olive Baptist Church, and Seventh Day Adventist Baptist in East Palo Alto and invited guest of the Stanford Gospel Summer Workshop.
Currently he divides his playing between eclectic solo classical/jazz music, his 'Real Time' Trio (playing piano, pedal bass) and increasing session and studio jazz chromatic harmonica. He is a Seydel Harmonica artist endorsing the Saxony Chromatic, plays Yamaha Grand pianos, Roland keyboards and uses Acoustic Image Amplification.
www.http://neiladlerpiano.com/
His last year in Detroit he joined a studio band "Howl The Good', signed to Motown and recorded an LP in England at Island Studios of the Beatles. Giving up the psychedelic life of rock music in the 70's he moved to California for graduate school at Stanford.
During his medical training he immersed himself in the Bay Area jazz scene, meeting, playing and studying with nearly all the piano luminaries. Mentors included Smith Dobson, Russ Ferrante, Paul Nagel, Mark Levine, Rebecca Malleon, Art Lande, Don Haas, Dick Hindman, Paul Potyen, Bill Bell, Dave Matthews and Ellis Marcellis. He took master classes with Bill Evans, Fred Hersh, Dan Haerle, George Cables and Kenny Werner. Performances favored his own trio with sidemen including the bay areas best such as Jeff Chambers and Eddie Marshall, accompanying singers including Madeline Eastman, Margie Baker, Morning Nichols, Freddie Strong and subbing with institutions such as Pete Escovedo and Mel Martin. Interest in Latin music led to travel and research through out the world. He was part of the first San Francisco music delegation to Cuba in 1991, returning in 2010 to study with 'Pupi" Pedroso, Nelson Diaz and Yosavany Terry and performing at the renown
National School of the Arts in Havana. Opportunities with Salsa Orchestras that resulted included Tumbao y Cuerdas, Orchestra de Moderna Tradicion, Claudia Villela, Orquestra Actualidad, Tito y Su Orchestra International, and Fito Reynoso. Living and playing in South America and Brazil expanded his knowledge of this important influence on American Jazz and was followed by stays with multiple local groups including Chalo Eduardo and Escola Nova de Samba, Marcos Santos, Alegria etc. Continuing to pursue the rhythmic elements of jazz he recently he became organist for Mt. Olive Baptist Church, and Seventh Day Adventist Baptist in East Palo Alto and invited guest of the Stanford Gospel Summer Workshop.
Currently he divides his playing between eclectic solo classical/jazz music, his 'Real Time' Trio (playing piano, pedal bass) and increasing session and studio jazz chromatic harmonica. He is a Seydel Harmonica artist endorsing the Saxony Chromatic, plays Yamaha Grand pianos, Roland keyboards and uses Acoustic Image Amplification.
www.http://neiladlerpiano.com/
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