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Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
A Cooperative Model for Preserving Historical Television News Content by Morgan Gieringer
A Cooperative Model for Preserving Historical Television News Content By Morgan Gieringer ABSTRACT: The University of North Texas (UNT) and the Dallas-Fort Worth (Tex- as) affiliate station of the National Broadcasting Company (NBC 5/KXAS-TV) have partnered to preserve the archival programming content of the oldest television news station in Texas. This article addresses the partnership of the archives and the news sta- tion to create a fully digitally accessible archive, as well as the challenges of large-scale preservation and digitization of audiovisual materials. Using a custodial partnership model, the archives and the news station have leveraged their own unique talents and abilities to make significant progress toward the goal of digitizing this historic collec- tion. This article highlights the progress made over the first five years of the partner- ship and the aspects of the partnership that have made the project successful. Introduction The archival profession must begin to confront the many challenges inherent in the large-scale preservation of twentieth-century audiovisual resources. A significant portion of our shared cultural heritage, including historical television news recordings, is at risk due to complicated copyright issues, degradation of the original media, the cost involved in digitizing audiovisual resources, and the difficulty of preserving high- resolution digital video files. The NBC 5/KXAS-TV project highlights the extreme difficulties inherent in preserving twentieth-century television news content, but also demonstrates the cultural significance and importance of preserving this content for future generations. Unfortunately, a large amount of twentieth-century broadcast news content has already been lost, as television news reporters and production staff focus on the here and now, and yesterday’s news was only intended to be recorded and preserved for a short period of time. -
Trumpeter Scotty Barnhart Appointed New Director of the Count Basie Orchestra
September 23, 2013 To: Listings/Critics/Features From: Jazz Promo Services Press Contact: Jim Eigo, [email protected] www.jazzpromoservices.com Trumpeter Scotty Barnhart Appointed New Director of The Count Basie Orchestra For Immediate Release The Count Basie Orchestra and All That Music Productions, LLC, is pleased to announce the appointment of Scotty Barnhart as the new Director of The Legendary Count Basie Orchestra. He follows Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel in leading one of the greatest and most important jazz orchestras in history. Founded in 1935 by pianist William James Basie (1904-1984), the orchestra still tours the world today and is presently ending a two-week tour in Japan. The orchestra has released hundreds of recordings, won every respected jazz poll in the world at least once, has appeared in movies, television shows and commercials, Presidential Inaugurals, and has won 18 Grammy Awards, the most for any jazz orchestra. Many of its former members are some of the most important soloists, vocalists, composers, and arrangers in jazz history. That list includes Lester Young, Billie Holiday, Harry “Sweets” Edison, Jo Jones, Frank Foster, Frank Wess, Thad Jones, Joe Williams, Sonny Payne, Snooky Young, Al Grey, John Clayton, Dennis Mackrel and others. Mr. Barnhart, born in 1964, is a native of Atlanta, Georgia. He discovered his passion for music at an early age while being raised in Atlanta's historic Ebenezer Baptist Church where he was christened by Dr. Martin Luther King, Jr.He has been a featured trumpet soloist with the Count Basie Orchestra for the last 20 years, and has also performed and recorded with such artists as Wynton Marsalis, Marcus Roberts, Frank Sinatra, Diana Krall, Clark Terry, Freddie Hubbard, The Duke Ellington Orchestra, Nat Adderley, Quincy Jones, Barbara Streisand, Natalie Cole, Joe Williams, and many others. -
John Dean's Latest Mea Culpa Edward T
William Mitchell Law Review Volume 29 | Issue 1 Article 7 2002 John Dean's Latest Mea Culpa Edward T. Matthews Follow this and additional works at: http://open.mitchellhamline.edu/wmlr Recommended Citation Matthews, Edward T. (2002) "John Dean's Latest Mea Culpa," William Mitchell Law Review: Vol. 29: Iss. 1, Article 7. Available at: http://open.mitchellhamline.edu/wmlr/vol29/iss1/7 This Book Review is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in William Mitchell Law Review by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Matthews: John Dean's Latest Mea Culpa MATTHEWS FORMATTED.DOC 9/6/2002 10:12 PM JOHN DEAN’S LATEST MEA CULPA Edward T. Matthews† The Rehnquist Choice: The Untold Story of the Nixon Appointment That Redefined the Supreme Court. By John Dean. The Free Press, 2001. 336 pages. $26.00. It is not often that one is afforded the chance to read a book about a sitting Chief Justice of the United States written by a convicted felon.1 I initially had high expectations of this text, as its author, John W. Dean III, was a central player in President Richard Nixon’s White House. At first glance, the book appears to be well researched, as Dean relied heavily on 420 hours of President Nixon’s White House Tapes, which were released on October 16, 2000.2 The text, however, does little more than dredge up old charges leveled against Chief Justice William Rehnquist. -
University of Florida Law Review
University of Florida Law Review VOLUME XXVIII WINTER 1976 NUMBER 2 LAW, CAPITALISM, AND THE FUTURE A. DEFINING THE ENTREPRENEUR: WEBER'S PROTESTANT ETIDC REFINED EDITOR'S NOTE: Departing from the usual style of a law review article, the following manuscript not only invites but requires extensive participation by the reader in analyzing the function of the law in relation to capitalism. The author adopts an unorthodox technique and weaves together seemingly un related ideas. For example. by interjecting a lengthy quote from a 1964 Supreme Court decision, the author bids the reader to determine whether the law can serve "as a successful control device" in the face of the increasing internationali zation of capitalism. Moreover, the web of ideas that the author spins does not suggest facile distinctions or conclusions. From the confusing and complex bombardment of ideas, analogies, and theories, the reader hopefully will dis cover perceptions worthy of the challenge. I The Inadequacies of Weber's Ideal Type (i) History is the story of what happened, and the most instructive explana tions - those most deserving of the historical title - are the ones that most satisfactorily account for the presence of the phenomenon whose behavior is being described. Historical explanations are therefore judged both in terms of how well they explain given instances of a phenomenon and how many such instances they explain. Why Weber's explanation of entrepreneurship was so satisfactory is a question for the social and intellectual histories of the times during which it has been accepted. This article offers an explanation for the generally accepted proposition that Weber's theory explains remarkably few of the known instances of entrepreneurship. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
Florida Historical Quarterly
COVER The United States Army Third Cavalry at Tampa, May 1898. When it arrived from Fort Ethan Allen, Vermont, the Third camped west of the Tampa Bay Hotel between West Tenth Avenue and West Nineteenth Avenue. Because of transportation problems only part of the unit sailed for Cuba where they were attached to the Dismounted Cavalry Division led by former Confederate General Joe Wheeler. From a photograph in the P. K. Yonge Library of Florida History, University of Florida, Gainesville. THE FLORIDA HISTORICAL SOCIETY Volume LIII, Number 4 April 1975 THE FLORIDA HISTORICAL QUARTERLY SAMUEL PROCTOR, Editor STEPHEN KERBER, Editorial Assistant EDITORIAL ADVISORY BOARD LUIS R. ARANA Castillo de San Marcos, St. Augustine HERBERT J. DOHERTY, JR. University of Florida JOHN K. MAHON University of Florida WILLIAM W. ROGERS Florida State University JERRELL H. SHOFNER Florida Technological University CHARLTON W. TEBEAU University of Miami Correspondence concerning contributions, books for review, and all editorial matters should be addressed to the Editor, Florida Historical Quarterly, Box 14045, University Station, Gainesville, Florida 32604. The Quarterly is interested in articles and documents pertaining to the history of Florida. Sources, style, footnote form, original- ity of material and interpretation, clarity of thought, and interest of readers are considered. All copy, including footnotes, should be double-spaced. Footnotes should be numbered consecutively in the text and assembled at the end of the article. Particular attention should be given to following the footnote style of the Quarterly. The author should submit an original and retain a carbon for security. The Florida Historical Society and the Editor of the Florida Historical Quarterly accept no responsibili- ty for statements made or opinions held by authors. -
April 2016: John Clayton
AFM LOCAL 47 Vol. 2 No. 4 April 2016 online John Clayton Playing it Cool NEXT GENERAL MEMBERSHIP MEETING Avoid Being Suspended Over Delinquent Monday, April 25, 7:30pm @ Serena Kay & Earl Williams Auditorium Work Dues! Review the Executive Board policy ISSN: 2379-1322 Publisher Editor AFM Local 47 Gary Lasley 817 Vine Street Managing Editor / Advertising Manager Hollywood, CA 90038-3779 Linda A. Rapka p 323.462.2161 f 323.993.3195 Graphic Designer / Asst. Layout Editor www.afm47.org Candace Evans AFM LOCAL 47 EXECUTIVE BOARD Hearing Board & COMMITTEES Allen Savedoff, chair Overture Online is the official monthly elec- Alan Estes, Chuck Flores, tronic magazine of the American Federa- Titled Officers Jon Kurnick, Jeff Lass, tion of Musicians Local 47, a labor union for President John Acosta Norman Ludwin, Marc Sazer Vice President Rick Baptist professional musicians located in Holly- Secretary/Treasurer Gary Lasley Hearing Representative wood. Vivian Wolf Trustees Judy Chilnick, Dylan Hart, Salary Review Board Formed by and for Los Angeles musicians Bonnie Janofsky Stephen Green, chair Norman Ludwin, Marie Matson, over a century ago, Local 47 promotes and Directors Paul Sternhagen protects the concerns of musicians in all Pam Gates, John Lofton, areas of the music business. Our jurisdic- Andy Malloy, Phil O’Connor, Fair Employment Practices Bill Reichenbach, Vivian Wolf Committee tion includes all counties of Los Angeles Ray Brown, Beverly Dahlke-Smith (except the Long Beach area). With more Delegates to AFM Convention John Acosta, Rick Baptist, Grievance Committee than 7,000 members, Local 47 negotiates Pam Gates, Bonnie Janofsky, Ray Brown, Lesa Terry with employers to establish fair wages Gary Lasley, Norman Ludwin and working conditions for our members. -
Judicial Discipline and the Appearance of Impropriety: What the Public Sees Is What the Judge Gets Raymond J
University of Minnesota Law School Scholarship Repository Minnesota Law Review 2010 Judicial Discipline and the Appearance of Impropriety: What the Public Sees Is What the Judge Gets Raymond J. McKoski Follow this and additional works at: https://scholarship.law.umn.edu/mlr Part of the Law Commons Recommended Citation McKoski, Raymond J., "Judicial Discipline and the Appearance of Impropriety: What the Public Sees Is What the Judge Gets" (2010). Minnesota Law Review. 516. https://scholarship.law.umn.edu/mlr/516 This Article is brought to you for free and open access by the University of Minnesota Law School. It has been accepted for inclusion in Minnesota Law Review collection by an authorized administrator of the Scholarship Repository. For more information, please contact [email protected]. Article Judicial Discipline and the Appearance of Impropriety: What the Public Sees Is What the Judge Gets Raymond J. McKoski† Introduction ........................................................................... 1916 I. Development of the Appearance of Impropriety Standard ........................................................................... 1920 A. Judge Kenesaw Mountain Landis and the 1924 Canons of Judicial Ethics .......................................... 1921 B. The 1924 Canons of Judicial Ethics .......................... 1925 C. The 1972 Code of Judicial Conduct ........................... 1926 1. The Fortas Scandal: Giving New Importance to Appearances ......................................................... 1926 2. Judge Haynsworth, -
1 BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Frank Wellington Wess
1 The TENORSAX of FRANK WELLINGTON WESS Solographer: Jan Evensmo Last update: Sept. 9, 2020 2 Born: Kansas City, Missouri, Jan. 4, 1922 Died: Oct. 30, 2013 Introduction: Oslo Jazz Circle always loved the Basie orchestra, no matter what time, and of course we became familiar with Frank Wess’ fine tenorsax playing. My own real ear opener however was the Joe Turner session on Atlantic from 1956. Early history: First instrument altosax which he played in local band in Oklahoma. On tenor in Washington with Bill Baldwin and in the house band at Howard Theatre. On tour with Blanche Calloway and army service 1941-44. After discharge, with Billy Eckstine. Then with Eddie Heywood and Lucky Millinder. One year with Bull Moose Jackson. Back to Washington and studies on flute 1949. From June 1953 to August 1964 he was a member of Count Basie’s orchestra. Message: I have had to simplify the presentation of Count Basie sessions, it seemed to serve no purpose of going through all Chris Sheridan. However this means that many sessions with FW must have been omitted, and it is not unlikely that some of these will or have already appeared on CD. Also,I admit that it is not always easy to hear the difference between Frank Wess and Frank Foster, at least for my modest ears. Thus please report any discrepancies between your and my opinions without delay! 3 FRANK WESS TENORSAX SOLOGRAPHY BILLY ECKSTINE ORCHESTRA NYC. June/July, 1946 Hobart Dotson, King Kolax, Leonard Hawkins, possibly Rostelle Reese (tp), Billy Eckstine (vtb, vo), Alfred "Chippy" Outcalt, Gerald Valentine, Howard Scott, unknown (tb), Porter Kilbert, possibly Robert "Junion" Williams (as), Gene Ammons, Frank Wess (ts), unknown (bar), possibly Linton Garner or Jimmy Golden (p), Connie Wainwright (g), Bill McMahon (b), Art Blakey (dm), Ann Baker (vo). -
Council Briefed on Katerra, SMART Terminal
TXST MEN’S BASKETBALL ENTERTAINMENT FOCUS Bobcats focused Big Cedar Fever plays on UT Arlington Snowbird Series Pg. 8 Pg. 3 107TH YEAR NO. 24 FRIDAY, FEBRUARY 1, 2019 SANMARCOSRECORD.COM $1.00 AIR QUALITY INDUSTRIAL PARK EPIC Piping applies for Council briefed on Katerra, SMART Terminal ROBIN BLACKBURN and rezoning by the city of San city of Martindale related to the ETJ moore and Saul Gonzales asked if STAFF REPORTER Marcos. Parker’s presentation was issue,” Parker said, noting that Mar- the annexation and planned develop- air discharge on approximately 734 acres of land tindale city offi cials “seem open to ments would aff ect property values Land use, acreage, environmental along State Highway 80 and Farm discussions of an ETJ swap.” nearby; Parker said he could not give concerns and property values were to Market Road 1984. Initially, the Parker also noted the benefi ts San a defi nite answer, but the projected TCEQ permit all part of a discussion of the Katerra city was looking to annex more than Marcos could see from annexing $3-4 billion in his report would be and SMART Terminal developments 900 acres, but part of the acreage lies the property, including control over from the property at the SMART STAFF REPORTS the San Marcos City Council held in a disputed area that appears to be building code, fi re code and fl ood Terminal. Tuesday afternoon. part of the city of Martindale’s extra- prevention regulations, as well as As for zoning the land, which the Th e Texas Commission on Envi- During a workshop meeting, Assis- ronmental Quality (TCEQ) is ac- territorial jurisdiction (ETJ) and the land use control and a potential $3 SMART Terminal developer has said tant City Manager Steve Parker gave developer has removed the disputed billion to $4 billion added to the needs to be Heavy Industrial to ac- cepting public comment on an air a presentation on the developments permit application fi led by EPIC acreage from his annexation request.