Benny Golson Was Born in Philadelphia, PA, on January 25, 1929

Total Page:16

File Type:pdf, Size:1020Kb

Benny Golson Was Born in Philadelphia, PA, on January 25, 1929 THE 6TH ANNUAL HIGHLAND /ASU JAZZ FESTIVAL MARCH 26-28, 2015 HIGHLAND HIGH SCHOOL GILBERT, ARIZONA Dear Jazz Educator, We would like to invite you to attend the 6th Annual Highland/ASU Jazz Festival on March 26-28, 2015 at Highland High School in Gilbert, Arizona. Please visit the Highland/ASU Jazz Website for all of the details, full artist/clinician bios and links, and other important information about the festival. Our festival is more than a come and get comments and ratings festival. We have designed it to be beneficial to your jazz program in multiple areas. Jazz needs to be experienced, so come and experience jazz with us! www.highlandjazz.com This year’s featured guest artists are: “Rhythm Is My Business" is the title of his debut recording as a leader, and rhythm is a booming business as far as Lewis Nash is concerned. Lewis Nash Lewis Nash Lewis is the drummer of choice for an incredible array of artist—from the masters of the music to the hottest young players of today—and is equally in demand as a clinician and educator. Born in Phoenix, Arizona, Lewis developed an early interest in music and began playing drums at age 10. By age 18, he was performing with local jazz groups. By the time he was 21, Lewis had become the “first call” jazz drummer in Phoenix, working with Sonny Stitt, Art Pepper, Red Garland, Lee Konitz, Barney Kessell, and Slide Hampton during their engagements in the city. Currently, while he continues to perform and record with a wide variety of artists, Lewis leads several of his own exciting groups, from duo to septet. Outside of his many touring and recording accomplishments (thanks to the sponsorship of Sonor drums, Zildjian cymbals, Remo drumheads, and Regal Tip drumsticks), Lewis has become a sought after jazz educator. His lectures, clinics, and workshops are as much in demand as his bandstand and studio work. Multi-talented and internationally renowned tenor saxophonist, Benny Golson was born in Philadelphia, PA, on January 25, 1929. With decades of experience as a composer, arranger, lyricist, and producer, Benny has earned the title of “jazz legend.” Benny Golson Raised with an impeccable musical pedigree, Benny has played in the bands of world famous Benny Goodman, Dizzy Gillespie, Lionel Hampton, Earl Bostic, and Art Blakey. Few jazz musicians can claim to be true innovators and even fewer can boast of a performing and recording career that literally redefines the term "jazz." Benny Golson is the only living jazz artist to have written 8 standards for jazz repertoire, namely “Killer Joe,” “I Remember Clifford,” “Along Came Betty,” “Stablemates,” “Whisper Not,” “Blues March,” “Five Spot After Dark,” and “Are you Real?” Benny has recorded over 30 albums for many recording companies in the United States and Europe under his own name and innumerable ones with other major artists. For more than 60 years, Benny has not only enjoyed an illustrious recording career but has also written well over 300 compositions. These musicians will also be joined by some of our clinicians in an all-star combo performance and the Arizona State University Concert Jazz Band led by Michael Kocour. In addition, the High School Jazz Band that receives the Judge’s Most Outstanding Award from Friday and Saturday’s clinic/performances will open Saturday’s concert! Our clinicians include: Andy Baker - Trombone - Assistant Professor of Jazz Studies at the University of Illinois at Chicago Glenn Kostur - Saxophone - Director of Jazz Studies at the University of New Mexico Don Owens - Composer - Retired Director of Jazz Studies at Northwestern University Alex Parker - Trumpet - Director of Jazz Studies at Baylor University Tom Wakeling - Bass - Retired Chair of Music at Clackamas Community College REGISTRATION INFORMATION Festival Registration: $275.00 per Big Band $500.00 per Big Band w/Concert Tickets for One Concert $225.00 per Combo Due Date: February 20, 2015 All Elementary, Junior High, High School, & College Big Band and Combos are welcome!!! Concert Ticket Prices: Participants Friday – Lewis Nash $15.00 Saturday – Benny Golson $15.00 Both Concerts $25.00 General Admission Friday – Lewis Nash $20.00 Saturday – Benny Golson $20.00 FESTIVAL SCHEDULE Thursday, March 26, 2015 8:00 AM - 6:00 PM Festival Performances/Clinics Friday & Saturday, March 27-28, 2015 8:00 AM - 11:30 AM Festival Performances/Clinics 2:30 PM - 6:30 PM Festival Performances/Clinics 7:30 PM Festival Guest Artist Concert We hope you will come out and join us for a weekend of great jazz performances and experiences. If you have any questions, please do not hesitate to call or email us. We look forward to seeing you at the Highland/ASU Jazz Festival. Sincerely, Kevin Bennett Michael Kocour [email protected] [email protected] MISSION STATEMENT The Highland Jazz Festival is dedicated to educate and inspire students, educators, and audiences; and to enhance the appreciation and importance of jazz education. .
Recommended publications
  • FY14 Tappin' Study Guide
    Student Matinee Series Maurice Hines is Tappin’ Thru Life Study Guide Created by Miller Grove High School Drama Class of Joyce Scott As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students Under the guidance of Teaching Artist Barry Stewart Mann Maurice Hines is Tappin’ Thru Life was produced at the Arena Theatre in Washington, DC, from Nov. 15 to Dec. 29, 2013 The Alliance Theatre Production runs from April 2 to May 4, 2014 The production will travel to Beverly Hills, California from May 9-24, 2014, and to the Cleveland Playhouse from May 30 to June 29, 2014. Reviews Keith Loria, on theatermania.com, called the show “a tender glimpse into the Hineses’ rise to fame and a touching tribute to a brother.” Benjamin Tomchik wrote in Broadway World, that the show “seems determined not only to love the audience, but to entertain them, and it succeeds at doing just that! While Tappin' Thru Life does have some flaws, it's hard to find anyone who isn't won over by Hines showmanship, humor, timing and above all else, talent.” In The Washington Post, Nelson Pressley wrote, “’Tappin’ is basically a breezy, personable concert. The show doesn’t flinch from hard-core nostalgia; the heart-on-his-sleeve Hines is too sentimental for that. It’s frankly schmaltzy, and it’s barely written — it zips through selected moments of Hines’s life, creating a mood more than telling a story. it’s a pleasure to be in the company of a shameless, ebullient vaudeville heart.” Maurice Hines Is .
    [Show full text]
  • Mike Mangini
    /.%/&4(2%% 02):%3&2/- -".#0'(0%4$)3*4"%-&34&55*/(4*()54 7). 9!-!(!$25-3 VALUED ATOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 0/5)& '0$64)*)"5 "$)*&7&5)&$-"44*$ 48*/(406/% "35#-",&: 5)&.&/503 50%%46$)&3."/ 45:-&"/%"/"-:4*4 $2%!-4(%!4%23 Ê / Ê" Ê," Ê/"Ê"6 , /Ê-1 -- (3&(03:)65$)*/40/ 8)&3&+";;41"45"/%'6563&.&&5 #6*-%:06308/ .6-5*1&%"-4&561 -ODERN$RUMMERCOM 3&7*&8&% 5"."4*-7&345"33&.0108&34530,&130-6%8*("5-"4130)"3%8"3&3*.4)05-0$."55/0-"/$:.#"-4 Volume 36, Number 3 • Cover photo by Paul La Raia CONTENTS Paul La Raia Courtesy of Mapex 40 SETTING SIGHTS: CHRIS ADLER Lamb of God’s tireless sticksman embraces his natural lefty tendencies. by Ken Micallef Timothy Saccenti 54 MIKE MANGINI By creating layers of complex rhythms that complement Dream Theater’s epic arrangements, “the new guy” is ushering in a bold and exciting era for the band, its fans, and progressive rock music itself. by Mike Haid 44 GREGORY HUTCHINSON Hutch might just be the jazz drummer’s jazz drummer— historically astute and futuristically minded, with the kind 12 UPDATE of technique, soul, and sophistication that today’s most important artists treasure. • Manraze’s PAUL COOK by Ken Micallef • Jazz Vet JOEL TAYLOR • NRBQ’s CONRAD CHOUCROUN • Rebel Rocker HANK WILLIAMS III Chuck Parker 32 SHOP TALK Create a Stable Multi-Pedal Setup 36 PORTRAITS NYC Pocket Master TONY MASON 98 WHAT DO YOU KNOW ABOUT...? Faust’s WERNER “ZAPPI” DIERMAIER One of Three Incredible 70 INFLUENCES: ART BLAKEY Prizes From Yamaha Drums Enter to Win We all know those iconic black-and-white images: Blakey at the Valued $ kit, sweat beads on his forehead, a flash in the eyes, and that at Over 5,700 pg 85 mouth agape—sometimes with the tongue flat out—in pure elation.
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Benny Golson (* 25
    JAMU 20150408-2 – Benny Golson (* 25. 1. 1929) 6 Along Came Betty 581030 6:08 9 Blues March 581030 6:13 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Van Gelder Studio, Hackensack, New Jersey, October 30, 1958. LP Blue Note BST 84003 „Moanin’“ / CD Blue Note 7243 4 95324 2 7. 3 I Remember Clifford (1957) (138) 581122 5:36 10 Blues March 581122 5:46 1 Whisper Not (1956) (297) 581122 7:11 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Live at the Olympia, Paris, November 22 / December 17, 1958. LP Fontana 680 202 and EP Fontana 460 642 / CD Gitanes 832 659-2. 4 I Remember Clifford 600206 3:10 11 Blues March 600206 5:17 13 Killer Joe (1959) (628) 600206 4:58 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Curtis Fuller-tb; Benny Golson-ts; McCoy Tyner-p; Addison Farmer-b; Lex Humphries-dr. New York City, February 6, 9 and 10, 1960. LP Argo 664 „Meet the Jazztet“ / CD Mosaic MD7-225. 2 Whisper Not 620302 5:20 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr. New York City, March 2, 1962. LP Mercury SR 60698 „Here and Now“ / CD Mosaic MD7-225. 7 Along Came Betty 620621 5:29 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr.
    [Show full text]
  • San Diego, Ca Competition Results Standing Ovation O!Ward Sponsored By
    SAN DIEGO, CA COMPETITION RESULTS STANDING OVATION O!WARD SPONSORED BY: “DARK SIDE” DANCEOLOGY “PHOTO FUN” EVOLUTION DANCE CENTER BRAVO! HIGH POINT O!WARD (Highest Scoring Group Routine of the Entire Weekend) “LOST INSPIRATION” DANCEOLOGY NEXSTAR OUTSTANDING PERFORMANCE O!WARD SPONSORED BY: “A DAUGHTER’S TRIBUTE” THE DANCE SPOT “SMOTHER” DANCEOLOGY SAN DIEGO, CA COMPETITION RESULTS O!VERTURE ENTERTAINMENT AWARD “MATERIAL GIRL” BEST FOOT FORWARD DANCE STUDIO “AVE MARIA” DANCE FX ENCORE! ENTERTAINMENT AWARD “I WANT CANDY” THE DANCE SPOT “SYMPHONIES” HAMMOND STUDIO OF DANCE BRAVO! ENTERTAINMENT AWARD “SUPER CALI” THE DANCE SPOT “BLACK HOLE” THE DANCE SPOT SAN DIEGO, CA COMPETITION RESULTS TITLE WINNER Petite Miss BravO! Jessalyn Hall “Man Wanted” Mather Dance Company Junior Miss BravO! Ava Brooks “Rhythm Is My Business” Danceology Teen Miss BravO! Ariana Mcclure “The Last Moment” Danceology Miss BravO! Alexis Mcclure “Be Mine” Danceology EXCELLENCE IN SHOWMANSHIP DANIELLE ESPOSITO “I CAN’T DO IT ALONE” EVOLUTION DANCE CENTER KATIE ALBRIGHT “DANCIN’ FOOL” THE ELEMENT DANCE CENTER GRECIA CRUZ “WORK” THE DANCE SPOT MAYA TRINOCO “BABY DON’T SAVE ME” HAMMOND STUDIO OF DANCE EXCELLENCE IN TECHNIQUE ARIANA MCCLURE “THE LAST MOMENT” DANCEOLOGY JESSALYN HALL “MAN WANTED” MATHER DANCE COMPANY MICHELLE SIEMIENOWSKI “CAN’T HELP FALLING IN LOVE” DANCEOLOGY TAYLOR VALADEZ “O, MIO” CATHY’S INDEPENDENCE DANCE SAN DIEGO, CA COMPETITION RESULTS OVERALL PETITE SOLO WINNERS-O!VERTURE 1 st Place Maddox Nebril “Wassup Ladies” Danceology 2 nd Place Blanche Pizzurro
    [Show full text]
  • The Impact of the Music of the Harlem Renaissance on Society
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1989 Volume I: American Communities, 1880-1980 The Impact of the Music of the Harlem Renaissance on Society Curriculum Unit 89.01.05 by Kenneth B. Hilliard The community of Harlem is one which is rich in history and culture. Throughout its development it has seen everything from poverty to urban growth. In spite of this the people of this community banded together to establish a strong community that became the model for other black urban areas. As a result of this millions have migrated to this community since the 1880’s, bringing with them heritages and traditions of their own. One of these traditions was that of music, and it was through music that many flocked to Harlem, especially in the 1920’s through 1950’s to seek their fortune in the big apple. Somewhere around the year 1918 this melting pot of southern blacks deeply rooted in the traditions of spirituals and blues mixed with the more educated northern blacks to create an atmosphere of artistic and intellectual growth never before seen or heard in America. Here was the birth of the Harlem Renaissance. The purpose of this unit will be to; a. Define the community of Harlem. b. Explain the growth of music in this area. c. Identify important people who spearheaded this movement. d. Identify places where music grew in Harlem. e. Establish a visual as well as an aural account of the musical history of this era. f. Anthologize the music of this era up to and including today’s urban music.
    [Show full text]
  • Lee Morgan Chronology 1956–1972 by Jeffery S
    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • 2019 Gala Benefit Concert Valerie Simpson
    2019 Gala Benefit Concert Sponsorship Opportunities Featuring Valerie Simpson World renowned recording artist, song writer, producer Camille Thurman Tenor saxophonist, vocalist, band leader Honorees Benny Golson GRAMMY nominated saxophonist, composer, arranger Legends of Jazz Harlem School of the Arts Jazz & Community Leadership The Hon. Adriano Espaillat U.S. Representative Special Recognition Sullivan and Cromwell Corporate Leadership & Community Service Special Recognition Wednesday, June 12, 2019 7:30pm - 9:00pm City College Center for the Arts & Aaron Davis Hall West 135th Street & Convent Avenue (129 Convent Avenue) 1 Dear Friends, We are pleased to invite you to join the National Jazz Museum in Harlem at our sixth annual Gala Benefit Concert. We hope you will partner with us as a sponsor of this exciting event. The National Jazz Museum in Harlem is a thriving center for jazz that brings together worldwide audiences to celebrate this quintessential American Music. This year, as always, we look forward to celebrating with you, our honorees, highly acclaimed guest artists. Our mission is to preserve, promote and present jazz by inspiring knowledge, appreciation, and the celebration of jazz locally, nationally and internationally. Education is central to what we do. We offer year-round educational programs for students, seniors and the public. Each year, we produce and present nearly 100 free and low-cost events in New York City, making us a hub for live performances, exhibits and education programs. We feature jazz musicians and scholars renowned in the field. We are home to the widely acclaimed Savory Collection, which includes more than 100 hours of live recordings of jazz legends made from New York City radio broadcasts aired between 1935 and 1941.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • 2016 Concert Programs
    CAZADERO MUSIC CAMP Young Musicians Session Concert CAZADERO JAZZ WORKSHOP June 25, 2016 Jonathan Raman, Director CSU Sacramento CAZADERO ALL CAMP CHOIR Killer Joe ……………………………………..……….. Benny Golson Liz Mazzaferro, Conductor Gingerbread Boy ……………………………..………. Jimmy Heath Sacred Heart Elementary School, Sacramento I Bought Me a Cat …. American Folk Song, arr. Sally K. Albrecht CAZADERO STRING ORCHESTRA Peaceful River ………………………………... Traditional Spiritual Candace Crismond, Conductor arr. Mary Donnelly & George L. O. Strid Berkeley Unified School District Kusimama (Stand Tall) ………………...……….……. Jim Papoulis Simple Gifts …………………. Traditional, arr. Bruce Chase Elegy and Dance ………………………..…… Richard Meyer Danny Boy …………….……. Traditional, arr. Harry Alshin CAZADERO PIANO PROGRAM Batman Theme …………..…….. Neal Hefti, arr. Bob Cerulli Danielle Duckett and David Lee, Directors Little Bird’s Morning Song ………………………….. Robert Heller Salomé Frisch Berceuse ………………………………………….. Benjamin Godard CAZADERO CONCERT BAND Mae Hutchinson, primo Danielle Duckett, secondo Aaron Smith, Conductor Minuet ……………………………………………. L. van Beethoven Monterey Trail High School, Elk Grove Leo Saunders Ivan Sings …………………………..………… Aram Khatchaturian Gadget …………………………..…… Randall D. Standridge Sarah Jonath Jesu, Joy of Man’s Desiring (BWV 147) …………….…….J. S. Bach Portrait of a Clown ………………………….… Frank Ticheli Adam Jahovach Presto, op. 157 No. 4 ………………………..……….. Fritz Spindler Canto ……………………………..……… W. Francis McBeth Pablo Hansen Les Chevaux de Bois (Merry Go Round) …….……. Georges Bizet
    [Show full text]