2017 NCMEA Professional Development Conference November 11
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Highly Recommended New Cds for 2018
Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Young and Terry Promane Octet Volume Two Modica Music Phil Parisot Creekside OA2 John Stowell And Ulf Bandgren Night Visitor Origin Eric Reed A Light In Darkness WJ3 Katharine McPhee I Fall In Love Too Easily BMG Takaaki Otomo New Kid In Town Troy Dr. Lonnie Smith All In My Mind Blue Note Clovis Nicolas Freedom Suite Ensuite Sunnyside Wayne Escoffery Vortex Sunnyside Steve Hobbs Tribute To Bobby Challenge Adam Shulman Full Tilt Cellar Live` Scott Hamilton Live At Pyat Hall Cellar Live Keith O’ Rourke Sketches From The Road Chronograph Jason Marsalis Melody Reimagined Book One Basin Street 1 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dan Block Block Party High Michael Waldrop Origin Suite Origin Roberto Margris Live In Miami J Mood Dan Pugach Nonet Plus One Unit UTR Jeff Hamilton Live From San Pedro Capri Phil Stewart Melodious Drum Cellar Live Ben Paterson That Old Feeling Cellar Live Jemal Ramirez African Skies Joyful Beat Michael Dease Reaching Out Positone Ken Fowser Don’t Look Down Positone New Faces Straight Forward Positone Emmet Cohen With Ron Carter Masters Legacy Series Volume Two Cellar Live Bob Washut Journey To Knowhere N/C Mike Jones and Penn Jillette The Show Before The Show Capri 2 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Tull Texting And Driving Toy Car Corcoran Holt The Mecca Holt House Music Bill Warfield For Lew Planet Arts Wynton Marsalis United We Swing Blue Engine Scott Reeves Without A Trace Origin -
North Carolina
Gowan MALS Final Project Spring 2014 2 Table of Contents The Roots of Jazz in North Carolina ................................................................................................. 3 Setting the Stage ............................................................................................................................ 4 The 19th Century: Songs of Joy and Freedom .................................................................................. 9 19th Century Secular Music in North Carolina: In the String of Things ......................... 10 Sacred Music in 19th Century North Carolina: Lined Up and Ready ............................. 19 The 20th Century: Repression, Deliverance, and Escape ............................................................. 28 Secular Music in 20th Century North Carolina: Getting the Blues ................................... 29 Sacred Music in the 20th Century: Shout It Out ................................................................... 39 North Carolina: Fertile Ground for Jazz? ..................................................................................... 48 Works Cited .......................................................................................................................................... 52 Gowan MALS Final Project Spring 2014 3 The Roots of Jazz in North Carolina An analysis of the musical heritage of the Tar Heel State and its connection to jazz greats North Carolina is not known for its jazz music. When you think about the hubs of jazz, New Orleans, New York, -
View Geff's Resume
Geffery B. Stewart 1347 Gorsuch Ave Baltimore, Maryland 21218 443.454.1875 [email protected] Summary/Bio My name is Geffery Stewart. I was born in 1985 in Baltimore, MD. I was raised in Pasadena, MD where I attended public school. I am a self taught musician specializing in string instruments, mainly guitar, banjo, violin/fiddle, and mandolin. With the influence of my parents, I came obsessed with music of all kinds at a very young age. In my elementary school years, I discovered I had a keen ear and began singing along with music I heard at home and in church. At age 10, I began teaching myself guitar, with tuning and some chording assistance from my father. I was soon able to tune by ear. I worked hard at my 3 first chords, and played incessantly. More musical influence from my father began to influence my direction, and obsession such as Experimental, Jazz, Punk Rock, Reggae, Folk, Bluegrass, Hip Hop and more, but it was the Blues that grabbed my attention. My life was altered after hearing the Blues/Gospel of Blind Willie Johnson. Country blues and pre-war American music became a full time passion around age 15. The other pivotal musical experience was hearing John Coltrane at some point in Middle School. This opened my ears and mind to the possibilities of improvisation. At this time I was attempting to translate some of these concepts that I was hearing in country blues, punk, and jazz onto electric guitar. I was trying to comprehend using alternate tunings, using a slide, and eventually alternating bass fingerpicking from various American Folk Music. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
Altin Sencalar New
www.altinsencalarmusic.com https://www.facebook.com/AltinSencalarMusic/ https://www.reverbnation.com/altinsencalar [email protected] Long Bio Altin Sencalar a Temple, Texas native started his musical education at the age of 9 originally playing the cello. At age 11, he picked up the euphonium, then the trombone and has had the fortune to have studied with some of the finest musicians today. The list includes Michael Dease, Mike Roylance, Andre Hayward, Martin McCain, Freddie Mendoza, Pete Rodriguez, Paul Deemer, Jeff Hellmer, John Mills, and John Fremgan. Along with excellent instructors, Altin has had the pleasure of sharing the stage with performers such as Bobby Shew, Chris Vadala, Marcus Printup, Andre Hayward, Doug Webb, Wycliffe Gordon, Michael Dease, Cyrus Chestnut, Jeff "Tain" Watts, and many others. On the competition platform, Altin has received prizes and honors for both national and international competitions such as, The American Trombone Workshop, the International Trombone Association, Texas State Trombone Symposium Michael Rath Jazz Trombone Competition, Downbeat Student Music Awards, and being a Yamaha Young Performing Artist for the Low Brass Division. Along with national and international recognition, Altin remains as one of the most active musicians in Austin, TX and surrounding areas. Recently named one of the top 10 horn players in the 2016/2017 Austin Chronicles, "Austin Music Awards" Altin, had the pleasure of being a part of many original groups in Austin which include Latin Grammy nominated bands, Austin Chronicle Award winning bands, Recording Label artist, and nationally acclaimed groups such as Los Jazz Vatos, Riders against the Storm, Sergio y La Orkesta, La Mona Loca, Memphis Train Revue, The Pictures, Tortilla Factory, Rubeun Ramos and The Mexican Revolution, Big Band Tejano, Tiburon, Vintage 15, JazzBonez, NOW Jazz Orchestra, Tonic Big Band, Kris Kimura's Grande Wasabi Big Band, and many others. -
History of Fairfax City
HISTORY OF FAIRFAX CITY The City of Fairfax began as the Town of Providence in 1805, a community built around the Fairfax County Courthouse. Completed in 1800 at the corner of Little River Turnpike and Ox Road, the area was a crossroads of conflict during the American Civil War with hardships and disrupted lives for everyone. From a crossroads of conflict, the area became a crossroads of commerce in the late nineteenth century when the dairy industry propelled economic rebirth and the building of schools, churches, homes, barns, and businesses and in 1874 the Town of Providence officially became the Town of Fairfax. The early 20th century ushered in a myriad of technological and transportation changes and the emergence of civic organizations, sports clubs, a Town police unit, and a volunteer fire company. World War II spurred rapid growth across the region in housing, business ventures, and population and Fairfax quickly changed from a rural to a suburban community. The Town of Fairfax deeded a 150-acre tract of land in 1959 to the University of Virginia to establish a permanent home for what is now George Mason University. In 1961, the Town of Fairfax was incorporated as the independent City of Fairfax and in 1962 a new City Hall was completed. Rich in history and heritage, residents and visitors enjoy a small-town atmosphere and an abundance of cultural and recreational pursuits in the midst of a bustling metropolitan area. As the City's first mayor, John C. Wood said in 1962 - "Fairfax has a wonderful past and present and an even greater future." HOW DID THE JULY 4TH CELEBRATION BEGIN IN FAIRFAX CITY? Fairfax City’s Independence Day Parade and Fireworks began in 1967 and was organized by the Delta Alpha Chapter of Beta Sigma Phi Sorority. -
Top 100 Jazz 2016
Top 100 Jazz 2016 Rank Artist Title Label Peak Weeks Spins 1 Gregory Porter Take Me To The Alley Blue Note 1 27 5377 2 Russell Malone All About Melody HighNote 1 26 4764 3 Warren Wolf Convergence Mack Avenue 2 27 4581 4 Kenny Garrett Do Your Dance Mack Avenue 1 26 4371 5 One For All The Third Decade Smoke Sessions 2 26 4336 6 Joey Alexander Countdown Motema 1 16 4116 7 René Marie Sound Of Red Motema 2 25 4098 8 Jim Rotondi Dark Blue Smoke Sessions 1 27 4032 9 Willie Jones III Groundwork WJ3 3 26 3876 10 Cyrus Chestnut Natural Essence HighNote 2 26 3855 11 Steve Turre Colors For The Masters Smoke Sessions 1 20 3836 12 Branford Marsalis & Kurt Elling The Upward Spiral OKeh 2 24 3814 13 Herlin Riley New Direction Mack Avenue 2 27 3812 14 George Coleman A Master Speaks Smoke Sessions 2 26 3757 15 Etienne Charles San Jose Suite Culture Shock Music 2 25 3753 16 Yellowjackets Cohearence Mack Avenue 2 25 3683 17 Renee Rosnes Written In The Rocks Smoke Sessions 1 27 3661 18 Dr. Lonnie Smith Evolution Blue Note 1 25 3559 19 Ken Fowser Standing Tall Posi-Tone 1 26 3505 20 Dave Stryker Eight Track II Strikezone 2 16 3498 21 Jae Sinnett Zero To 60 J-Nett Music 1 25 3442 22 John Beasley Presents MONK’estra Vol. 1 Mack Avenue 3 21 3360 23 Peter Bernstein Let Loose Smoke Sessions 4 26 3291 24 Brian Bromberg Full Circle Artistry Music 6 26 3239 25 Benny Golson Horizon Ahead HighNote 5 26 3235 26 Cyrille Aimée Let’s Get Lost Mack Avenue 1 28 3200 27 Jeremy Pelt #JIVECULTURE HighNote 2 26 3178 28 Eric Hargett w/ Joey D and Gerry Gibbs Steppin’ Up Whaling -
Download the Blood on the Fields Playbill And
Thursday–Saturday Evening, February 21 –23, 2013, at 8:00 Wynton Marsalis, Managing & Artistic Director Greg Scholl, Executive Director Bloomberg is the Lead Corporate Sponsor of this performance. BLOOD ON THE FIELDS JAZZ AT LINCOLN CENTER ORCHESTRA WYNTON MARSALIS, Music Director, Trumpet RYAN KISOR, Trumpet KENNY RAMPTON, Trumpet MARCUS PRINTUP, Trumpet VINCENT GARDNER, Trombone, Tuba CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone SHERMAN IRBY, Alto & Soprano Saxophones TED NASH, Alto & Soprano Saxophones VICTOR GOINES, Tenor & Soprano Saxophones, Clarinet, Bass Clarinet WALTER BLANDING, Tenor & Soprano Saxophones CARL MARAGHI, Baritone Saxophone, Clarinet, Bass Clarinet ELI BISHOP, Guest Soloist, Violin ERIC REED, Piano CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums Featuring GREGORY PORTER, Vocals KENNY WASHINGTON, Vocals PAULA WEST, Vocals There will be a 15-minute intermission for this performance. Please turn off your cell phones and other electronic devices. Jazz at Lincoln Center thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard® is the Preferred Card of Jazz at Lincoln Center. Qatar Airways is a Premier Sponsor and Official Airline Partner of Jazz at Lincoln Center. This concert is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. ROSE THEATER JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL jalc.org PROGRAM JAZZ AT LINCOLN CENTER 25TH ANNIVERSARY SEASON HONORS Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for the Performing Arts initiated a three-performance summertime series called “Classical Jazz,” the organization has been steadfast in its commitment to broadening and deepening the public’s awareness of and participation in jazz. -
Annual Report
Downtown Columbia Arts and Culture Commission Annual Report 2018 Table of Contents WELCOME 2 INTRODUCTION 3 THE COMMISSION 4 MISSION AND VISION 4 LEADERSHIP 4 MANAGEMENT 5 2018 ACCOMPLISHMENTS OVERVIEW 5 PROGRAMS 7 VISION AND PHILOSOPHY 7 ROOTED IN COMMUNITY 7 A BEACON FOR THE WORLD 9 OPERATIONS 11 FINANCIAL ACTIVITIES 11 OUTLOOK 12 MERRIWEATHER POST PAVILION 13 ABOUT MERRIWEATHER 13 RENOVATION UPDATE 13 MERRIWEATHER IN THE COMMUNITY 18 OUTLOOK 19 Welcome On behalf of the Downtown Columbia Arts and Culture Commission, I am pleased to introduce our 2018 report on activities and impact. This was a year of “ups” and a very notable “down” for the Downtown Columbia Arts and Culture Commission. The year’s low point came at the beginning—January 13th, when the iconic roof of Merriweather Post Pavilion collapsed while being raised as part of the venue’s ongoing renovation project. This was unexpected, to say the least, but we were incredibly fortunate that there were no injuries and little ancillary damage to the property as a result of this accident. Thanks to the dedicated team at Merriweather and with our contractor, Costello Construction of Maryland, the roof was rebuilt in time for the season to start. The show must go on, and it did. As owners of this iconic amphitheater since 2016, the Downtown Columbia Arts and Culture Commission has developed expertise and partnerships to overcome the challenges big and small that arise. The roof collapse tested us, but now, nearly a year later, we see this test in the same way that we see others: As a reminder that our work as stewards of Merriweather Post Pavilion must be our main priority. -
Guitar and Lute Music
SOLITARY REFINEMENT Music for Lute, Vihuela and Guitar Welcome to the intimate, colourful and versatile world of music for lute and guitar, instruments with an ancestry tracing back thousands of years and a fascinating repertoire reflecting the physical and social development of the instrument over the past five centuries. The music represented in the following pages traces the instrument’s journey from the refinements of the early sixteenth century to the more cutting-edge characteristics it has inspired from 20th-century composers. Collectors wishing to assemble recordings by composer will find noted representatives of successive historical periods, including the English Renaissance composer John Dowland, German baroque master Silvius Leopold Weiss, the Italian classical style of Mauro Giuliani, 19th-century Spanish greats Fernando Sor and Francisco Tárrega, plus a modern international spread of names including Joaquín Rodrigo and Leo Brouwer. There are also regional collections representative of guitar music not only from the instrument’s native Spain, but also from South American countries closely associated with the development of the instrument’s profile in the 20th century – Brazil, Argentina and Chile, for example – plus gems from Australia and Britain. Alternatively, the instrument’s range of technical and expressive capabilities can be sampled by choosing from an extensive set of solo recitals by an international roster of distinguished performers, not least in our highly successful and ever-expanding Guitar Laureate Series. Complementing the instrument’s image as a solitary instrument are recordings of ensemble works for two and three guitars, for guitar and piano, and Boccherini’s quintets for guitar and string quartet. -
Access to JHU and Stacy Cofield at 443-287-9900
NeighborhoodMatters FALL 2005 HIGHLIGHTS NeighborhoodMatters New Life for a Venerable Building www.jhu.edu/~gcpa/matters nearly 100-year-old Charles Village offers classes on the Montgomery County September 10 of the closed-to-traffic JFX on foot, bike, or For more information, 410-516-0341 or landmark will soon become the Campus and at the Columbia Center. Volunteers from James W. Rouse skateboard; paddle a canoe in the river; www.jhu.edu/historichouses. Community Service Day, an outreach pro- cheer on the racing frogs. 8:30 a.m. to 2:30 A home for the Baltimore-based pro- Edward Pajak, chair of Teacher October 8 gram of Struever Bros. Eccles & Rouse and p.m. www.jonesfalls.com. grams of JHU’s School of Professional Development and Leadership, said that the The dynamic young contempo- the Enterprise Foundation, visit the Studies in Business and Education’s building will allow SPSBE to better serve October 1 and November 5 rary ensemble Eighth Blackbird JOHNS HOPKINS, THE COMMUNITY, AND YOU FALL 2005 Wyman Park Dell for cleanup and repair Graduate Division of Education. In January, the Greater Baltimore area.“We always had 1 and 3 p.m. In conjunction with kicks off Shriver at the BMA, a work. To join in, go to www.jwrday.com/ faculty and staff are scheduled to move into a strong urban mission, and what this facili- the museum’s current exhibitions new, free series of performances volunteer.htm. Outdoor Sculpture Seton Court, a 73,000-square-foot building ty will do is raise the visibility of the educa- (see Sept.