DOCSLIB.ORG

Give Me the Banjo: Lesson Plan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Give Me the Banjo: Lesson Plan Give Me the Banjo: Lesson Plan Created by: Dan McDowell, Educational Consultant Shaun Clarke, Project Manager Marc Fields, Producer/Director IV. 4-String Swing Cynthia Sayer: 4-String Swing - http://www.pbs.org/arts/work/06_4_string_swing_cynthia_sayer/ While the 5-string banjo now enjoys more popularity among today’s banjo players, there was a time when the 4-string banjo was more popular. In the early 1920s, the 4-string banjo provided the crucial pulse for most jazz bands. In the jazz setting, the 4-string banjo was used rhythmically. But the heyday of the 4-string banjo was short-lived, as many jazz bands started to replace banjos with amplified guitars in the 1930s. There are two different types of 4-string banjos: the tenor and the plectrum. The tenor banjo was introduced as an improvement on previous banjos because it was louder (which was important in big vaudeville theaters and the new dance bands and orchestras), with a shorter neck. Lacking the fifth string -- the shorter thumb or drone string -- the tenor banjo had the same tuning as both a mandolin and a violin, making it easier for musicians familiar with those instruments to pick up. This gave the tenor banjo the flexibility to play in many different musical keys, an advantage in orchestras. The plectrum banjo has a similar construction to the 5-string, minus the fifth string, and is usually tuned the same. The plectrum banjo, as indicated by the name, is normally played with a pick. Plectrum players liked to use more chords in their playing, and the fifth string interfered with their ability to play chords. While the 4-string banjo is used today for Dixieland, Jazz and Tin Pan Alley pop music, the 5-string banjo has thrived in bluegrass, old time, alt-country and progressive banjo music. Examples of 4-string banjo players: Harry Reser - http://www.youtube.com/watch?v=DSk07z5Akfs Roy Smeck - http://www.youtube.com/watch?v=6Y3f9CWCTes&feature=related Perry Bechtel - http://www.youtube.com/watch?v=QejGnzYB-Ag Elmer Snowden - http://www.youtube.com/watch?v=sukTcm3ea7E Eddy Davis - http://www.youtube.com/watch?v=7InU6IBdET0 Eddie Peabody - http://www.youtube.com/watch?v=xDMRPtRq44g Buddy Wachter - http://vimeo.com/18633986 In this video: Cynthia Sayer reinvents the 4-string plectrum banjo as an instrument for hot jazz. Going beyond the stereotypes of flashy vaudeville-style performing (and male-dominated musicianship), the New Jersey-born Sayer plays hot, swinging jazz on the plectrum banjo. She’s also played piano with Woody Allen’s band. 1 Discussion Questions 1. Why do you think the banjo got phased out of the mainstream jazz movement? 2. How did the minstrel shows establish a style of playing the banjo? How was it reinforced during the Vaudeville years (see Eddie Peabody video)? 3. Cynthia Sayers believes the banjo is a “legitimate, hot jazz instrument.” Based upon her performance, do you agree or disagree? Why? 4. What are the basic differences between the four and five string banjos? Lesson Overview: In the early 1920’s, many jazz bands included banjos in addition to an assortment of traditional instruments. While it was mostly replaced by the electric guitar in the 1930’s, the banjo provided a rhythmic foundation for many early jazz groups. In this lesson, students will compare early jazz pieces. Task: Analyze and compare the early forms of jazz. Process: 1. As a class, ask students to describe jazz music. What are some words that describe it? Explain to the class that there are many types of jazz music that have evolved over the years. For this lesson, they will be looking at three of the earlier types. 2. After this initial discussion, have students research the following questions using the first two resource links: a. What are some musical characteristics of jazz? b. How is jazz historically important to the United States? c. What instruments are generally a part of jazz music? 3. Next, give students the linked note sheet. 4. Using the Styles of Jazz Music link, students should summarize each type of jazz in the next column. 5. Next, play the Jazz Style Examples and have students write down descriptive words for each style. Also have them identify key instruments they hear. 6. At the end of the lesson, discuss the following questions: . What are similarities and differences between the different styles? a. How important were the different instruments, including the piano, banjo, and brass instruments? b. Why do you think the banjo was phased out of jazz? c. How do you think events in the United States affected the development of jazz at the different stages? 2 Resources: PBS Kids - History of Jazz The Definition of Jazz Styles of Jazz Music Jazz Style Examples: o Ragtime o Hot Jazz o Swing Evaluation: Students can be evaluated based upon the following criteria: Participation in class discussions Completion of the questions and chart Standards: UCLA History Standards United States Era 7 Standard 3C: The student understands how new cultural movements reflected and changed American society. Common Core History/Social Studies Standards RH.11-12.7. Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem. RH.11-12.9. Integrate information from diverse sources, both primary and secondary, into a coherent understanding of an idea or event, noting discrepancies among sources. RH.11-12.10. By the end of grade 12, read and comprehend history/social studies texts in the grades 11–CCR text complexity band independently and proficiently. 3 .
Load more

Recommended publications
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • Mitchell Brothers – Vaudeville and Western
    Vaudeville and the Last Encore By Marlene Mitchell February, 1992 William Mitchell, his wife Pearl Mitchell, and John Mitchell 1 Vaudeville and the Last Encore By Marlene Mitchell February, 1992 Vaudeville was a favorite pastime for individuals seeking clean entertainment during the early part of the 20th century. The era of vaudeville was relatively short because of the creation of new technology. Vaudeville began around 1881 and began to fade in the early 1930s.1 The term vaudeville originated in France.2 It is thought that the term vaudeville was from “Old French vaudevire, short for chanson du Vaux de Vire, which meant popular satirical songs that were composed and presented during the 15th century in the valleys or vaux near the French town of Vire in the province of Normandy.”3 How did vaudeville begin? What was vaude- ville’s purpose and what caused its eventual collapse? This paper addresses the phenomenon of vaudeville — its rise, its stable but short lifetime, and its demise. Vaudeville was an outgrowth of the Industrial Revolution, which provided jobs for peo- ple and put money in their pockets.4 Because of increased incomes, individuals began to desire and seek clean, family entertainment.5 This desire was first satisfied by Tony Pastor, who is known as the “father of vaudeville.”6 In 1881 Pastor opened “Tony Pastor’s New Fourteenth Street Theatre” and began offering what he called variety entertainment.7 Later B. F. Keith, who is called the “founder of vaudeville,” opened a theater in Boston and expanded on Pastor’s original variety concept.8 Keith was the first to use the term “vaudeville” when he opened his theater in Boston in 1894.9 Keith later joined with E.
    [Show full text]
  • June 28, 29 & 30, 2013
    33rd annual music with roots 2013 June 28, 29 & 30, 2013 Welcome to the 33rd annual music with roots THE MISSION OF OLD SONGS, INC. FUNDING PROVIDED BY Old Songs, Inc. is a not-for-profit organization dedicated to keeping traditional This event is made possible with public funds from the New music and dance alive through the presentation of festivals, concerts, dances and York State Council on the Arts, with the support of Governor educational programs. Andrew Cuomo and the New York State Legislature. THANK YOU FOR YOUR SUPPORT SOUND SUPPORT Meadowlark Farms (flowers) • REM Printing • Michael Jarus • Andy’s Front Hall Specialized Audio/John Geritz, Ian Hamelin and crew, Altamont Fairgrounds • Terry & Donna Mutchler • Voorheesville Carpet Co. Euterpe Sound/Clyde Tyndale, Tim Parker, Kate Korolenko, Scott Petersen, Dave and Cyndi Reichard OUR ENVIRONMENT We are grateful to have such a lovely shaded place to have a festival. Please DOCUMENTATION use the RECYCLE barrels for all plastic, aluminum, and glass containers. Flatten Don Person, Bill Houston, Bill Spence, Hannah Spence cardboard and place it next to a barrel. Use TRASH BARRELS for refuse. PICK UP and Neil Parsons after the concerts. Ride your BICYCLES in the designated areas. Wear shoes, use sunscreen and drink lots of water. Smoke away from the seated audience. Thanks SPONSORS from all who share this place. Old Songs would like to thank the following businesses and individuals for SEATING/CHAIR POLICY their sponsorship of the 2013 Old Songs Festival: Seating at the Main Stage and in Areas 2, 3, 6, 7 and 8 is divided into low and high The Global Child - Chet & Karen Opalka Price Chopper sections.
    [Show full text]
  • The Banjo Is a Much Loved and Increasingly Popular Instrument, But
    ° BANJO BONANZA ° ° BANJO BONANZA ° The banjo is a muchA loved and increasinglyLONG popular instrument, but its history is less well-known. Rose Skelton talks to banjo protagonists Béla Fleck, Jayme Stone and Otis Taylor, who are all intent on highlighting its African roots TRIP HOME sparkling moment of stillness dig at the roots of the instrument. Jayme and it got relegated to traditional music and is sandwiched between Stone, a young Canadian banjo player, went to disappeared from common usage.” scenes of children singing at Mali to explore griot music and has since But the banjo’s history didn’t start there. an orphanage in the Malian recorded and toured with kora players with Ethnomusicologists reckon the instrument, capital Bamako, and a noisy their version of the banjo-meets-Africa on his now made from metal, wood and plastic, A street scene in which motorbikes, cars and 2008 album Africa to Appalachia [reviewed actually came from Africa on slave ships in donkey carts chug down a dust-lined road. in #58]. The great American bluesman Otis the form of skin and gourd lutes, like the Béla Fleck, one of modern music’s most Taylor delved into the African-American akonting of Senegal or the ngoni of Mali, the experimental banjo players, and Oumou roots of the instrument on his 2008 album latter of which has been around since at least Sangaré, arguably Africa’s most celebrated Recapturing The Banjo [reviewed in #50], the 14th century. Once these gourd female singer, play together in a small making the point that when the blues came instruments arrived on American soil, the Above: banjo maestro Béla recording studio in Bamako; Béla picking from Africa, it came via the banjo.
    [Show full text]
  • Jason Bailey Band Harmony Sound Pickers Milltowne Spring/Summer
    Volume 53 – Issue 2 www.huntsvillefolk.org Spring/Summer 2019 The second quarter HTMA Membership meetings will be held at 1:30-4:30: April 14th (Moved up due to Easter) May 19th June 16th Please check the HTMA website to verify meeting locations, as they may vary HTMA President’s Notes HTMA Coffeehouses are scheduled for March 2019 7:00 at Burritt Museum’s Old Church. Dear Friends, Tuesday April 23rd As a non-profit organization, our purpose and Jason Bailey Band objective is to preserve and perpetuate Tuesday May 28th traditional music, instruments, and styles of rendition. This includes, but is not necessarily Harmony Sound Pickers limited to, what is commonly referred to as Tuesday June 25th folk, traditional, and old-time music. We emphasize live performance of music (not- Milltowne recorded or assisted by recordings) using CONTENTS natural, acoustic instruments and unaltered Page 1 – President’s Notes human voices. We strive to provide wholesome Page 2 – Upcoming Events and informative family entertainment in each Page 3 – April 23rd Coffeehouse and every event we sponsor or participate in. Page 4 – May 28th Coffeehouse We have a year of diverse and both regionally Page 5 – June 25 Coffeehouse and nationally respected performers booked into the Coffeehouse. Monthly Coffeehouses Page 5 – Whoever Was Maud Irving? are the 4th Tuesday of the month, opening Page 6 – A Remembrance of Dan Charles with a performance by HTMA members, Page 11 – New Verse and Chorus for “Vacant followed by the headliner act. Venue location Chair” is the Old Church at Burritt on the Mountain.
    [Show full text]
  • May 2008AAJ-NY.Qxd
    NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June.
    [Show full text]
  • WOODY ALLEN Músico Y Cineasta
    JORGE FONTE WOODY ALLEN músico y cineasta Prólogo de Òscar FONT Editorial L L E I D A, 2 0 1 5 ÍNDICE Prólogo .............................................................................................................. 11 Introducción ...................................................................................................... 13 I PARTE El artista ............................................................................................................ 17 El músico .......................................................................................................... 21 Las giras europeas y el documental Wild Man Blues ....................................... 24 Del Michael’s Pub al Café Carlyle ................................................................... 27 Discografía ........................................................................................................ 28 II PARTE Filmografía musical ........................................................................................... 33 TOMA EL DINERO Y CORRE (1969) ........................................................................ 37 BANANAS (1971) .................................................................................................. 41 TODO LO QUE QUISO SABER SOBRE EL SEXO. Y NUNCA SE ATREVIÓ A PREGUNTAR (1972) 45 EL DORMILÓN (1973) ........................................................................................... 51 LA ÚLTIMA NOCHE DE BORIS GRUSHENKO (1975) ................................................. 61 ANNIE HALL (1977)
    [Show full text]
  • The Ngoni, the Banjo and the Atlantic Slave Trade
    Mapping the Beat: A Geography through Music Curriculum ArtsBridge America Center for Learning through the Arts and Technology, UC Irvine Funded by National Geographic Education Foundation This curriculum unit for Mapping the Beat: A Geography through Music Curriculum was developed by Stephanie Feder (2007) at the University of California, Irvine with support from a grant from the National Geographic Education Foundation. The extended unit below was created by Dr. Timothy Keirn and the ArtsBridge America program at the California State University, Long Beach (2009). Other on-line resources, videos and lesson plans complied by the UC Irvine Center for Learning through the Arts and Technology are available at: http://www.clat.uci.edu/. LESSON: COUNTRY: AMERICA’S MUSIC (EARLY INFLUENCES AND INSTRUMENTS) Included in this document are: Part I: Lesson Part II: On-line resources for use with lesson Part III: Supporting Materials Part IV: Classroom Handouts, Worksheets and Visuals PART I: LESSON Mapping the Beat Fifth Grade Lesson: Country: America’s Music (Early Influences and Instruments) CONCEPT Early influences on modern American country music. How the migration of instruments of the Scots- Irish immigrants to Appalachia combined with those of the Atlantic slave trade influenced regional music. OBJECTIVE To visually recognize and describe instruments commonly associated with country music (namely the fiddle, guitar, and banjo), to recognize audio samples of music played by each instrument, and describe from where each instrument originated. STANDARDS ADDRESSED National Geography Standards Standard 4: The physical and human characteristics of places. How: Students identify and compare music and instruments of Scotland, Ireland, and Africa with that of American Appalachia during the 18th and 19th centuries.
    [Show full text]
  • Wanted-A Slogaf ~ ( Sl'c P:IJ.:L"•J)
    Vol. XXI OCTOBER,1928 No. 4 :\. S. B \ Ri...1, , · ( Dirwtur) l .\1111, .\ ! " · 1101 1, (ha · 111,;;TR, Sau Pnlro . l "ali 10111::1 Wanted-A Slogaf ~ ( Sl'c p:IJ.:l"•J) / 20 Centa Per Copy PUILUH!O IT ff . P. ODELL COMPANY ! 2.00 Per Yea r COPYf.lCHT 19:zl- ALL RICUTS IU!Sf.11.\'EO INTE UD Al IECOND Cl.AU MATTH JUNE 9, 1909, AT nt .l POST OFF1C! AT BOITOS. •u suc 11u11rr n. c suu AC1 nF . , ,u c 11 }, 1 87 0 Th, CRESCF.NDO TH E 1:-.GF.XUF.s, for mcrl)' with Zie gfe ld Folli es, Mu sic Renn .· (Co urt rsy <1{ r1 •9fl Co,} SOUTI-IERXM ELODYB o \ 'S (Co urlrs,, of Gihso11 Co.) L A:-.DF.:-.'IIERGERS RA:""J n BAxn, 1\·rl.:asic, Pa. J OH N AASON , Nonvc gian Giant JERR Y RI CHARDS L EON W ARREN fe:itur ed with Harold Lloyd National Broadcastin g-Co. Popular banjoist at Yale U niversity (Co urltS}' Sou th tr11 Calif. A1usir C o.) (Co urt uy of U 'urli tr.rr Co.) PL!A S! MllN T ION Tl, , CRESCENDO WHEW WRITIN G TO AOVEIITISl!lS October , 1928 Th, CRESCENDO ( 1 J The tunes you have been waiting for "FEIST" Popular Hits No. 8 for FRETTED INSTRUMENTS .,) MANDOLIN HAWAilAN GUITAR TENOR-BANJO SOLO Solo and arcomflani,ru nt So1;,,a::,~!~f°'o with r19ular 9uilar acc. in ont bool PRICE $1.00 PRICE $1.00 PRICE $ 1.00 [> Playable as Solos, Duets or any combination of the abov e part s <I CONTENTS My Ohio Home Ramona Chiquita A II parts art in the You 're a Real Sweetheart Th u e books art for same ity, so they can Baby Your Mother sale only i n U .
    [Show full text]
  • Jersey Jazz Society Dedicated to the Performance, Promotion and Preservation of Jazz
    Volume 43 • Issue 6 June 2015 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Singer Tamar Korn and Jerron “Blindboy” Paxton joined Terry Waldo’s Gotham City Band on stage at The Players Club in NYC on May 3. Photo by Lynn Redmile. New York’s Hot Jazz Festival NJJS Presents Old Tunes, Young Turks A Billy Strayhorn A sold-out crowd that included such music world luminaries as George Wein and Gary Giddins and 130-plus top tier musicians Centennial Tribute filled a 19th century Gramercy Park mansion on May 3 for a June 14 | Mayo PAC, Morristown 14-hour marathon of traditional and swing era jazz at the 3rd Tickets On Sale NOW! annual New York Hot Jazz Festival. Jersey Jazz’s Lynn Redmile See Page 13 was there to take in the scene and you can read her report and see more photos beginning on page 26. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 Prez Sez Editor’s Pick/Deadlines/NJJS Info .......6 Crow’s Nest. 46 By Mike Katz President, NJJS Change of Address/Support NJJS/ Volunteer/Join NJJS. 47 NJJS/Pee Wee T-shirts. 48 hanks to NJJS Board member Sandy In addition, we are expecting a group from the New/Renewed Members ............48 TJosephson for contributing an outstanding jazz band of Newark Academy in Livingston to storIes guest column last month! open for the Strayhorn Orchestra, which is New York Hot Jazz Festival .......cover particularly
    [Show full text]
  • EDDIE LANG – the FORMATIVE YEARS, 1902-1925 by Nick Dellow
    167 Eddie Lang Part One_Layout 1 05/09/2013 12:07 Page 1 EDDIE LANG – THE FORMATIVE YEARS, 1902-1925 By Nick Dellow Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally. Whether his guitar was imparting a rich chordal support for other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since. As is often the case with musicians who are prolific, there are gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music.
    [Show full text]
  • Stompin' with Fats
    July 2013 | No. 135 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com FATS WALLER Stompin’ with fats O N E IA U P S IS ANTHONY • GEORGE • BOYD LEE • ACT • EVENT COLEMAN COLLIGAN DUNLOP MUSIC CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK FEATURED ARTISTS / 7pm, 9pm & 10:30 ONE NIGHT ONLY / 7pm, 9pm & 10:30 RESIDENCIES / 7pm, 9pm & 10:30 Mondays July 1, 15, 29 Friday & Saturday July 5 & 6 Wednesday July 3 Jason marshall Big Band Papa John DeFrancesco Buster Williams sextet Mondays July 8, 22 Jean Baylor (vox) • Mark Gross (sax) • Paul Bollenback (g) • George Colligan (p) • Lenny White (dr) Wednesday July 10 Captain Black Big Band Brian Charette sextet Tuesdays July 2, 9, 23, 30 Friday & Saturday July 12 & 13 mike leDonne Groover Quartet Wednesday July 17 Eric Alexander (sax) • Peter Bernstein (g) • Joe Farnsworth (dr) eriC alexaNder QuiNtet Pucho & his latin soul Brothers Jim Rotondi (tp) • Harold Mabern (p) • John Webber (b) Thursdays July 4, 11, 18, 25 Joe Farnsworth (dr) Wednesday July 24 Gregory Generet George Burton Quartet Sundays July 7, 28 Friday & Saturday July 19 & 20 saron Crenshaw Band BruCe Barth Quartet Wednesday July 31 Steve Nelson (vibes) teri roiger Quintet LATE NIGHT RESIDENCIES Mon the smoke Jam session Friday & Saturday July 26 & 27 Sunday July 14 JavoN JaCksoN Quartet milton suggs sextet Tue milton suggs Quartet Wed Brianna thomas Quartet Orrin Evans (p) • Santi DeBriano (b) • Jonathan Barber (dr) Sunday July 21 Cynthia holiday Thr Nickel and Dime oPs Friday & Saturday August 2 & 3 Fri Patience higgins Quartet mark Gross QuiNtet Sundays Sat Johnny o’Neal & Friends Jazz Brunch Sun roxy Coss Quartet With vocalist annette st.
    [Show full text]