Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor

Total Page:16

File Type:pdf, Size:1020Kb

Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor 1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. McPARTLAND: My father was Frank Turner. He didn’t have a middle name. Frank Turner. My mother was Janet Payne, and then . P-a-y-n-e, and then she married my father. I think her name was . I don’t think she had a middle name. I think it was just Janet and then she became Janet Turner. I have one sister who is younger than me. I’m not sure exactly how much. About three or four years. She’s in her seventies. As indeed am I. WILLIAMS: And her name. McPARTLAND: Joyce. She’s got three names: Joyce Mabel Kathleen Turner, and then married Tony Armitage, and she became Joyce Armitage. She has three grown children: Sheila and Christopher and Mark. They all have—my God the family’s getting big—they all have children. Sheila has Andrew and Victoria. Chris and his wife Sonia, they have one little baby named Eleanor. Mark has two girls named Lydia and Francis. WILLIAMS: Excellent. Any other relatives’ names that you want to have documented, for instance your cousin? McPARTLAND: Oh wait, yes, yes, yes, my first cousin, first and only cousin, Edward, Ted Turner and his wife Christine. She’s still alive. She’s in her eighties. Ted unfortunately died several years ago. I have several relatives. I can’t exactly say whether they’re cousins or second cousins. It’s somebody that I used to call “Uncle.” There were several relatives of my mother’s living in Windsor, close to, which of course sounds much better on the tape than Slough, but just happens to be right next door. I can’t really give you these names chronologically. There was . They were all called Dyson. The family name was Dyson. I guess probably it’s my great uncles. One had a music store. One played cello in the local orchestra. One had the jewelry shop which for so many years was the shop which was the jeweler to the royal family. In fact one of my second cousins, Cyril Dyson, who was the son of Harry Dyson, he was knighted by the Queen several years ago, and he became Sir Cyril Dyson. WILLIAMS: O.K., yes, if I’m correct your cousin, your one and only cousin, is related to you on your father’s side. For additional information contact the Archives Center at 202.633.3270 or [email protected] 3 McPARTLAND: Yes. WILLIAMS: Is that your father’s brother? McPARTLAND: Right, my father’s . oh that’s right I should . do I . probably should name them. My father was the youngest of four brothers. Will or William. I think Harry Turner was the eldest, Uncle Harry. The next one was Ted, Edward, who was the father of Ted, Jr., my cousin. And the other one was Will, William. Out of these four brothers only came myself and my sister. Then my uncle Ted had the one son, Ted, Jr. That’s all I can think of. Maybe there’s somebody I forgot. WILLIAMS: I’ll just develop that a little bit more. Does Ted, Jr., have any children? McPARTLAND: Oh yes, that’s right. That’s what I was going to say. Ted, Jr. His wife Christine still lives in England. But he has two . wait a minute, yeah . he has two grown children. Caroline, who lives in New Orleans. She married a heart specialist. And Alan, who did what we all thought was a dastardly act. He became a . well, what are those guys who roam about in the airport? I can’t even think what they’re called. The name of the religious . WILLIAMS: Hari Krishna? McPARTLAND: Yeah. Yeah, I couldn’t think of it. He became one of those, and it was like . I’m sure they’re doing good works, but in any case, to my cousin Ted, this was not something he’d hoped for in the family. Alan, he was, he got married. Let’s see, he was married and has two children. I’ve lost touch with them a little bit. Rachel was one who I’ve met, and there was another one who I think I’ve not met. Meanwhile he got divorced and now is living in London the life of a Hari Krishna, whatever life they lead. WILLIAMS: Have you ever seen him in the airport when you travel through London? McPARTLAND: No, thank God, I haven’t. WILLIAMS: [laughs]. Or would you recognize him if you did see him? McPARTLAND: I probably wouldn’t. Actually he’s a very nice guy. Not that they shouldn’t be nice, but I’ve met him, and he just seems very self-assured and jolly, and he must like his life. He just must be happy doing what he’s doing. For additional information contact the Archives Center at 202.633.3270 or [email protected] 4 WILLIAMS: Sounds like we’ve covered most of . what about one other question. On your mother’s side, does she have siblings? McPARTLAND: Oh yes, my mother had a brother, Arthur. He was married. I remember them in my childhood. He had a . his wife was named Amy, but I don’t think they had any children. There’s a lot of assorted cousins and second cousins still roaming around in Windsor, but I lost touch. The one I was closest to was Uncle Cyril, who was knighted. We always called him “Uncle.” He wasn’t really my uncle. He and his wife Sylvia came to New York and saw me at the Hickory House. They were having a convention of mayors in Windsor, Ontario, so he being the mayor of Windsor, England, was included in this convention. So he came over. I’ve said this before. It won’t hurt to say it again, because it was funny. He thought the Hickory House was just a terrible place for me to be in. He sat through one set, and then he said to me, “Margaret, does your father know what you’re doing?” Of course I said, “Well I’m only playing music. I’m not doing anything to be ashamed of. There’s nothing wrong with it.” But he just didn’t like the idea of me being up behind the bar surrounded by bottles of liquor. It wasn’t an ideal setup for a jazz trio. I’m amazed that it was so successful for ten years, because we really managed to make it into something quite successful. WILLIAMS: I was going to ask you, just as a followup. This is kind of getting into some of your early and fond memories in life socially in Windsor, and how did that cultivate your interest in music? But you stated a little earlier about one of your relatives, uncles I think, played cello, and someone else played. Did any . did your parents directly, either one of them, are involved with playing a musical instrument or singing? McPARTLAND: My mother played piano. She was probably my first musical influence. I knew that these great uncles in Windsor played, but I never did hear them. There was another one, Arthur Dyson. He was a composer of sorts. I’ve got one little piece that he wrote somewhere in all this pile of music. I don’t think he ever became very famous, not famous at all. But actually I should say that we moved out of Slough when I was just a few months old. We went to a town called Woolwich. In case you want the spelling, it’s w-o-o-l-w-i-c-h. As the Americans would say, “wool witch.” My father was a civil engineer. That was the place . I can’t imagine such a peaceful man wanting to, or being, his work, his life’s work being in a munitions factory at a place where they basically made guns and stuff like that. That’s really when I think about it, that’s what he did.
Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Wall to Wall Miles Davis 2001 (Disc 1 and 2) [Relaxin’ Withthemilesdavis Quintet,1956] 03
    Disc 2 Song & Surprise Mileselektronika Jane Ira Bloom - soprano saxophone, live Hagans/Belden Animation Project featuring electronics DJ Kingsize Bobby Previte - drums DJ Kingsize - turntables Cameron Brown - bass Tim Hagans - trumpet Vincent Bourgeyx - piano Bob Belden - tenor saxophone 04. How Deep Is the Ocean/Solar 20:49 Scott Kinsey - piano [Miles Davis, Volume 1 (1952)/Walkin] David Dyson - electric bass Zach Danzinger - drums Someday My Prince Will Come 01. Intro - Mother Dearest Mother 0:51 The Campbell Brothers [unreleased] Phil Campbell - guitar 02. Paraphernilia 14:56 Chuck Campbell - pedal steel guitar [Miles In The Sky, 1968] Darick Campbell - lap steel guitar Malcolm Kirby, Jr. - bass Live/Evil Carlton Campbell - drums Wall to Wall Sex Mob with Bill Frisell and DJ Logic 05. Someday My Prince Will Come 3:12 Bill Frisell - guitar 06. Summertime 3:59 DJ Logic - turntables 07. All Blues 6:45 Steven Bernstein - trumpet [Someday My Prince Will Come, 1961; Miles Davis Briggan Krauss - alto saxophone Porgy And Bess, 1958; Kind Of Blue, 1959] Symphony Space Tony Scherr - bass Kenny Wolleson - drums The Miles Experience New York, NY 03. Selim 18:12 Nora York - vocals [Live/Evil, 1970] Claire Daly - baritone saxophone March 24, 2001 Dave Hofstra - bass Ronnie Williams - drums Disc 1 and 2 08. So What/I Don’t Live Today 7:09 [Kind Of Blue, 1959; Are You Experienced, 1967] Thanks to GUITARS for sharing this at Dime; and to lilioriverio and abbcccus for keeping the show alive since 2007. Lineage: cdr in trade > eac > flac level 6 MP3 Version Various Wall To Wall Miles Davis 2001 (Disc 1 and 2) Miles Davis Wall To Wall Various Disc 1 The Hot Spot Bitches Brew Olu Dara Ensemble Bobby Previte’s Voodoo Down Orchestra Olu Dara - cornet, guitar, vox Bobby Previte - drums Kwatei Jones Quartey - guitar Ray Anderson - trombone Alonzo Gardner - bass Peter Epstein - soprano saxophone Larry Johnson - drums Adam Kolker - bass clarinet Coster Massamba - percussion Pete McCann - guitar 04.
    [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]
  • University of Maryland Commencement May 22, 2020
    University of Maryland Commencemenmay 22, 2020 Table of Contents CONGRATULATIONS BACHELOR’S DEGREES From the President 1 Agriculture and Natural Resources, From the Alumni Association President 2 College of 24 Architecture, Planning and SPEAKER BIOGRAPHIES Preservation, School of 25 Graduating Student Speaker 4 Arts and Humanities, College of 25 University Medalists 5 Behavioral and Social Sciences, Honorary Degree Recipients 7 College of 29 Commencement Speaker 9 Business, Robert H. Smith School of 35 Computer, Mathematical, and DOCTORAL DEGREES 10 Natural Sciences, College of 42 Education, College of 48 MASTER’S DEGREES 15 Engineering, A. James Clark School of 49 Graduate Certificates 22 Information Studies, College of 52 Journalism, Philip Merrill College of 53 Public Health, School of 54 Public Policy, School of 56 THE “DO GOOD” CAMPUS Undergraduate Studies 56 Certificate Programs 56 The University of Maryland commits to becoming HONORS COLLEGE, CITATION AND a global leader in advancing social innovation, NOTATION PROGRAMS, AND ACADEMIC AND SPECIAL AWARDS philanthropy and nonprofit leadership with its Do Honors College 57 Good Campus. CIVICUS 59 College Park Scholars 59 Beyond the Classroom 62 Our Do Good Campus effort amplifies the power of Federal Fellows 62 Terps as agents of social innovation and supports First-Year Innovation and Research Experience 62 the university’s mission of service. We’re working to Global Communities 63 ensure all University of Maryland students graduate Global Fellows 63 equipped and motivated to do good in their careers, Hinman CEOs 63 Immigration and Migration Studies 63 their communities and the world. Jiménez-Porter Writers’ House 63 Language House 63 Ronald E.
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • Colby Alumnus Vol. 65, No. 2: Winter 1976
    Colby College Digital Commons @ Colby Colby Alumnus Colby College Archives 1976 Colby Alumnus Vol. 65, No. 2: Winter 1976 Colby College Follow this and additional works at: https://digitalcommons.colby.edu/alumnus Part of the Higher Education Commons Recommended Citation Colby College, "Colby Alumnus Vol. 65, No. 2: Winter 1976" (1976). Colby Alumnus. 90. https://digitalcommons.colby.edu/alumnus/90 This Other is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Alumnus by an authorized administrator of Digital Commons @ Colby. The Colby Alumnus Volume 65, Number 2 Winter 1976 Published quarterly fall, winter, spring, summer by Colby College Editorial board Mark Shankland Earl H. Smith Design and production Donald E. Sanborn, Jr. Martha Freese Photography Mark Shankland Letters and inquiries should be sent to the editor, change of address notification to the alumni office Entered as second-class mail at Waterville, Maine Postmaster send form 3579 to The Colby Alumnus Colby College Waterville, Maine 04901 appraisal of the future of professions, or just in our President's Page personal arrangements for the security and well-being of ourselves and our families, we must take these changes into account and must assume that there will President Robert E. L. Strider gave the keynote address be continuing acceleration of change for all the span of to a conference of the Northeastern Industrial Devel­ years that most of us can foresee. opers Association recently in Portland. The conference I am surely not suggesting that this state of affairs is theme was "Survival Demands Sensitivity to Change." bad.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Arts Maryland
    ARTS MARYLAND To view online, go to: http://www.emarketingmd.org/Tourism/MSAC/Newsletter/January_10/Index.html PROGRAMS EVENTS GRANTS ARTS MARYLAND Latino Arts Roundtable JANUARY 2010 MSAC convenes session for Latino arts community Support the arts at Maryland Arts Day New policy allows TEP funding for public art Nine Md. organizations receive NEA awards MSAC convenes session for growing Latino arts community Local performers garner Participants included (l to r): Carolyn Comacho, Montgomery County Grammy nominations Public Schools; Olga Diaz, St. Michael and St. Patrick’s Church; Ted Resources available David, La Layenda; Susanna Nemes, Maryland State Arts Councilor; for artists, arts groups and Rosalina Delgado, Hispanic Business Federation. Polisar fans bring Having worked with Maryland’s Latino community in recent months, the Maryland new twists to old songs State Arts Council (MSAC) hosted its first Latino Arts Roundtable, Jan. 12, to discuss grant opportunities and how to best serve that community. The event was held at the Arts Council’s office, 175 W. Ostend St. in South Baltimore. “Historically, the Arts Council has been a leader among state arts agencies in gaining a broad and diverse constituency,” said Gov. Martin O’Malley. “We intend to continue that leadership by convening Latino leaders and artists in order to extend our grant programs into Maryland’s growing Latino community.” One of the goals of the Arts Council’s strategic plan, Imagine Maryland, is to recognize the state’s cultural diversity and forge connections with diverse communities. http://www.emarketingmd.org/Tourism/MSAC/Newsletter/January_10/Index.html (1 of 5)1/26/2012 2:10:24 PM ARTS MARYLAND Support the arts at Maryland Arts Day Hundreds of arts advocates are expected to meet with state legislators in Annapolis, Feb.
    [Show full text]
  • VPI HR-X Turntable & JMW12.6 Tonearm
    stereophile.com http://www.stereophile.com/turntables/506vpi#5kC628WHPF3lKHV2.97 VPI HR-X turntable & JMW12.6 tonearm VPI Industries' TNT turntable and JMW Memorial tonearm have evolved through several iterations over the last two decades. Some changes have been large, such as the deletion of the three-pulley subchassis and the introduction of the SDS motor controller. Others have been invisible—a change in bearing or spindle material, for example, or the way the bearing attaches to the plinth. And, as longtime Stereophile readers know, I've been upgrading and evolving along with VPI, most recently reporting on the TNT V-HR turntable (Stereophile, December 2001). But about the time I was expecting the next iteration, designer Harry Weisfeld threw me a curve by unveiling a completely new turntable design, the HR-X. First shown in prototype form at Stereophile's Home Entertainment 2002 show in New York City, the HR-X is a stunning, milled-from-aluminum showcase of everything Weisfeld has learned from designing turntables for the past 25 years. Nuts & bolts Although the HR-X is a clean-slate design, it was obviously informed by the TNT. There are four corner towers with internal pneumatic bladders, a huge platter belt-driven by an outboard motor and flywheel, and a JMW tonearm mounted directly to a massive plinth. Beyond that basic configuration, however, everything is different— rethought, improved, optimized, and executed to the highest standard possible. It's immediately obvious that even VPI's workmanship and cosmetics have been raised to new levels: the TNT was well-built and solid; the HR-X is striking and sumptuous.
    [Show full text]
  • Paul Keller Biography – One Page
    PAUL KELLER BIOGRAPHY – ONE PAGE 125 W. Willis Rd Saline, MI 48176 734-316-2665 [email protected] Since 1989, string bassist Paul Keller has led his 15-piece big band Paul Keller Orchestra to critical and popular acclaim. The PKO’s American Music Research Foundation Big Band Boogie Woogie concert was broadcast nationally on PBS throughout 2009 and 2010. The PKO’s Jazz Student Outreach Program hosted 30 school bands and over 700 student musicians in 2010. Paul is a prolific composer. In October, 2010 the Ypsilanti Symphony Orchestra premiered Paul’s five-movement symphonic composition The Ypsilanti Orchestral Jazz Suite. This major piece, written for jazz band and full symphony orchestra, celebrates Paul’s hometown of Ypsilanti, MI. The suite was received enthusiastically and was praised by community leaders as an important work of art with historical significance. Paul's magnum opus The Michigan Jazz Suite is a collection of 15 Keller compositions inspired by people, places and icons of the great state of Michigan. Featuring the Paul Keller Ensemble with titles like Big Mac, and Soo’s Blues, The Michigan Jazz Suite won the Detroit Music Award for Best Jazz Recording of 2008. In 2007 Keller created 15 original orchestra charts for clarinetist Dave Bennett’s symphonic Pops show A Salute to Benny Goodman. This show, composed for jazz band and full symphony orchestra has been performed by over 25 major US orchestras. Keller also wrote Bennett's second orchestra Pops show Clarinet Is King, featuring 10 new original Keller arrangements of songs from Artie Shaw, Pete Fountain, and Jimmy Dorsey.
    [Show full text]
  • The Jazz Record
    oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
    [Show full text]
  • Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet
    A Teacher's Handbook for Pittsburgh Ballet Theatre's Production of Indigo in Motion …a decidedly unique fusion of jazz and ballet Choreography Kevin O'Day Lynne Taylor-Corbett Dwight Rhoden Music Ray Brown Stanley Turrentine Lena Horne Billy Strayhorn Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are supported by major grants from the following: Allegheny Regional Asset District Claude Worthington Benedum Foundation Pennsylvania Council on the Arts The Hearst Foundation Sponsoring the William Randolph Hearst Endowed Fund for Arts Education Additional support is provided by: Alcoa Foundation, Allegheny County, Bayer Foundation, H. M. Bitner Charitable Trust, Columbia Gas of Pennsylvania, Dominion, Duquesne Light Company, Frick Fund of the Buhl Foundation, Grable Foundation, Highmark Blue Cross Blue Shield, The Mary Hillman Jennings Foundation, Milton G. Hulme Charitable Foundation, The Roy A. Hunt Foundation, Earl Knudsen Charitable Foundation, Lazarus Fund of the Federated Foundation, Matthews Educational and Charitable Foundation,, McFeely-Rogers Fund of The Pittsburgh Foundation, William V. and Catherine A. McKinney Charitable Foundation, Howard and Nell E. Miller Foundation, The Charles M. Morris Charitable Trust, Pennsylvania Department of Community and Economic Development, The Rockwell Foundation, James M. and Lucy K. Schoonmaker Foundation, Target Corporation, Robert and Mary Weisbrod Foundation, and the Hilda M. Willis Foundation. INTRODUCTION Dear Educator, In the social atmosphere of our country, in this generation, a professional ballet company with dedicated and highly trained artists cannot afford to be just a vehicle for public entertainment. We have a mission, a commission, and an obligation to be the standard bearer for this beautiful classical art so that generations to come can view, enjoy, and appreciate the significance that culture has in our lives.
    [Show full text]