Saturday, March 21, 2009
Spots Where Cervantes Has Worked As a trumpeter in wither his settee or jazz quartette, as well as a cocktail (happy-Hour) pianist, Federico has worked in such places as:The Blue Note in Chicago; Dave Quarim's Jazz Cellar in Vancouver, Canada; Studio and The Sheraton Hotel, and the Broadway Inn in Portland, Oregon; The Claremont Hotel and The Stew Den in Berkeley, California; The Broadway Club in Sacramento, California; The Ramada Inn and the Tidelands Hotel in Tucson, Arizona; Club Digger, The Coral Room in Los Angeles; Georgia Lee's Caprice Club in El Monte; Shapiro's Renaissance Club in Hollywood;The New Orleans Restaurant, Mister Majour's Club, Shirley's in Oakland; Bop City, The Mark-Hopkins Hotel, Station "J", The Black Hawk, The Washington Square Bar and Grill, Club Roland's Homer's Afrika Room, The Golden Grommet, Leola Kings' Blue Mirror, the Both And, Haight Levels, Yvonne's Dotty's, The Jazz Work-Shop, Ann's Four-Forty in San Francisco; Trois Colours in Oakland; The Serenader, The Fifth Amendment in Oakland; The Latin Quarters, Cesar's in San Francisco; The Air-Port Plaza in Cupertino; Café Jazz in Cupertino; Garden City in San Jose, California; Cote D'Azur in Atherton, California; Sonny Buckston's Milestones Club in San Francisco; Sherry's Lounge in Hollywood; Charlie Puzzo's Penthouse Club in Seattle, Washington; The whiskey River, Cicero's Club, Hacienda inn, Club Seven Fifteen in Reno, Nevada; The Sticky Wicket in Santa Cruz, California; The Alaska Lounge in San Francisco; California Colleges and Universities during a fourteen day circuit (San Diego, Pasadena, Santa Barbara, Bakersfield, Fresno, San Jose, Sacramento and San Francisco)
Has Worked With Such People As:
Ernestine Anderson, Anita O'Day, Billie Holiday, Al Hibbler, Blue Mitchell, Erik Dolphy, Teddy Edwards, Art Pepper, Erroll Grant, Roland Rosan Kirk, Herb Ellis, Terry Gibbs, Vernell Fournier, and Cat Anderson Double-Billings With Such As:The Oscar Peterson Trio, Errol Bostic, Andre Previn, and The Four Freshman, and Joe Henderson.
Piano Stage Volume 1
This is a book primarily for the pianist. Its object is to present complete piano-technique and sensitivity to the dedicated pianist. These piano-etudes are for the practice and equal development of both hands upon the keyboard and embody no particular European conceptual virtuosity, although they stress the full use of the left hand.In the second section of this book are the eludes for contrabass, violas, and violin, respectively. The piano-accompaniment for most of these works is basic and subsequently in the background; but, requiring the pianist to remain constantly aware of the soloist's temperament which in accord with the mood of the opus compels him to be both dulcet and masterful. A special opus is for the multi-instrumentalist--particularly a flautist who also plays violin--or perhaps betters said in reverse! For the authenticity's of a young or perhaps not so young genius, this composition lets you demonstrate your skill on both instruments, even though it is tender and somewhat solemn in musical content.
Table of Contents:
Piano Eludes: Elude in C Flat The Uninhibited Woman La De Vina Cortland Night-walk Las Perfumadas Etude in E For Piano, Contrabass, and PercussionEtudes for Strings:
Father Crawley's Park (opus for two violas) O star Ratso (opus for bass and flute) Es War Eine Stpine Am Bendel (opus for violinsit-flautist with piano-accompaniment)Hilary (opus for violin with piano-accompaniment)This item is no longer printed or available!
Piano Stage Volume 2
(Basic Harmony, Chords, Chord-Progressions and Improvising.
Plus, text on Improvisational Music,
Lead-sheets and Arrangements for Strings and Small Band Combo)
Piano Stage by Federico Cervantes: Intro You've been playing for a number of years and there have been a number of things you've overlooked. In your life, the piano had become a daily habit -- not one you were necessarily thrilled with, but, other than what the parents insisted on, still a thing to get through! So, upon playing it, it was easy, therefore, to overlook a number of very important things related to it -- like, riding the pedal too much --using very little shade and color- never really learning to listen to yourself, et cetera. Now, I'm going to get right to the point, because this is the reason you opened this booklet in the first place; you wanted to get right down to business-none of this fancy talk about dynamics, harmony, and the right fingering, even though these may be exactly what you need to study also. Not all of us piano-aficionados got interested in the piano through or because of our parents (mother insisting day after day that you practice and practice-- perhaps more so to keep you off the streets an out of the alleys) -- the grandparents threatening (ooops) planning to attend all of your Fall recitals. Too many of us have started out this way; but, fortunately, many more of us have not, and yet we seem to have the greatest frustrations--can't get the hands to do what's in my mind-- this blasted keyboard..., a real mystery plus a big hang-up!To learn more about how to play and what FC says, purchase the book!!
PREFACE:No one is more qualified to write a book about the trumpet than is a teacher of this instrument who also plays it. The ideas and so-called theories of a mere trumpet instructor are always limited and remain refutable, if said instructor writes and teaches only from a mathematical mechanical approach.This book is designed especially for the professional and nonprofessional trumpet enthusiast and therefore supersedes the primary lessons and exercises of beginners.This book is written by a devoted trumpeter who in addition to playing his regular engagements dedicates his time and very being to the trumpet and to those who are interested in furthering their trumpet studies.I am that trumpeter who in this book shares succinct and unapologetic theories with you.I am for the trumpet player, regardless of his national culture. Most of the questions asked me about he trumpet have been universal; that is, my Uruguayan, Argentinian, Brazilian, Costa Rican, and Mexican students (in their respective countries) have wanted to know the same things that my Armenian, Norwegian, and North American students ask. I have included their questions and perhaps yours too, along with my answers and musical illustrations.That which is more autobiographical than academic in this book serves to show you just where I'm coming from with respect to my observations and ideas as a musician. It helps tremendously if you, the Reader, can know the test-tube I was poured form, if you are to envelop the full impact of my teachings.In this book I don't contradict another's theories in order to build up mine; so, throughout these chapters as you read, don't look for an iconoclast to war against anterior authors. What I have proven to myself already, the same I can demonstrate on my trumpet. As a colleague I share my knowledge with you in the following thirteen chapters. Federico Cervantes
Federico Cervantes Trumpeter-pianist, Federico Cervantes, booked in San Francisco, California at the Meridien Hotel and the Maltese Grill, respectively, began his musical career at the end of the golden age of Bebop. Being able to work more steadily as a jazz pianist, Cervantes, throughout his early circuit of bookings had the privilege of knowing, playing, and being contracted with many well-known jazz artists and vocalists of that time.Back in the '50's Cervantes worked mostly locally; sometimes only as trumpeter, sometimes mostly as pianist, and was introduced on World Pacific Jazz label, (under a pseudonym in 1952), as featured pianist in the Chico Hamilton trio. It was Hamilton who brought Federico down to Los Angeles, after having heard Federico one night in San Francisco, and being very impressed by the Oscar Peterson-technique that Federico Cervantes in his own piano styling demonstrated.The 1958-59 albums recorded by Cervantes on the World Pacific Label included such people, respectively, as Ben Tucker, Armando Peraza, Ray Mosca, and flautist Paul Horn. In one of Federico Cervantes' three albums recorded in the late '50', Paul Horn as flautist appears; the album, A Jazz Interpretation of the Mikado. It was Federico's idea to record a jazz version of this operetta, and even though he mitigated his pianistic technique on the recording for fear of sounding like his favorite jazz pianist. Federico's piano part swings and swings hard!Federico Cervantes also developed the Federico Cervantes Orchestra.
Freddie Gambrell is an artist, an artist of music and faithful talent. Born in Virginia, he started his life always having a special passion for music. Freddie Gambrell, (Frederic Lee Gambrell II), became totally blind as a teenager because of an accident involving a vehicle. He changed his name in or around the year of 1965 to Federico Cervantes, although he has performed all over the world with both names. He has 6 children, and I, Anna Cervantes, his youngest, have designed and dedicated this website in remembrance of him. Federico (I knew him by this name) quietly passed away on July 9, 2004. Some people with whom I have communicated described my father as a legend, a man of humble circumstances, with not enough credit granted for his amazing talent. One man, when told of my father's passing, described him as, ALoss to the World
Saturday, March 14, 2009
Heard Around the World, Volume 3
Forever Jewell, 197?
From a series of 3 or 4 albums - all released with separate stock sleeves. This is actually Freddie Gambrell recording under an alias. I've found 3 of these albums so far and this volume is by far the best. Latin jazz sound plus some weird "wild west"-type tracks with crazy trumpet solos. All four LPs were recorded in SF and pop up around the Bay Area with some frequency. Not a great LP but a cool one.
This is me with him (Anna Cervantes)