Nic Vardanega Trio—Song List

Nic Vardanega Trio—Song List Standards Wayne Shorter John Coltrane Charlie Parker A Flower Is A Lovesome Thing Ana Maria 26-two Anthropology All The Things You Are Black Eyes Countdown Billies Bounce Alone Together Children Of The Night Giant Steps Blues For Alice Autumn In New York Deluge Impressions Cheryl Autumn Leaves El Gaucho Lazy Bird Confirmation Beautiful Love ESP Moment's Notice Cool Blues Blue Skies Fall Satelite Dewey Square Body and Soul Fee-Fi-Fo-Fum Dexterity Bye Bye Blackbird Footprints Joe Henderson Donna Lee Can't Help Lovin' Dat Man Iris A Shade Of Jade Moose The Mooche Darn That Dream Juju Black Narcissus Now's The Time East Of The Sun Nefertiti Inner Urge Ornithology Everything I Love Oriental Folk Song Isotope Relaxin' At Camarillo Have You Met Miss Jones Pinocchio Punjab Scrapple From The Apple Honeysuckle Rose Toy Tune Recorda Me Segment How Deep Is The Ocean Yes And No Serenity Steeplechase I Love You Yardbird Suite I Remember You Thelonious Monk Herbie Hancock Latin I Thought About You Ask Me Now I Have A Dream A Felicidade I Wish I Knew Ba-Lue Bolivar Ba-Lues-Are One Finger Snap Deve Ser Amor I'll Be Seeing You Bemsha Swing Speak Like A Child Fotografia I'll Remember April Blue Monk The Sorcerer La Belle Dame Sans Regret I'm Getting Sentimental Over You Blues Five Spot Dizzy Gillespie Triste If I Should Lose You I Mean You Con Alma It Could Happen To You In Walked Bud Groovin High My Ideal Let's Cool One Woody n You My Romance Light Blue On Green Dolphin St Pannonica Out of Nowhere Reflections Miles Davis Prelude To A Kiss Ruby My Dear Half Nelson Softly, As In A Morning Sunrise Straight No Chaser Milestones (old) Spring Is Here Sippin' At Bells Stella By Starlight Sonny Rollins Solar The Days Of Wine And Roses Airegin Tune Up The Nearness Of You Oleo The Things We Did Last Summer Pent-up House There Is No Greater Love Sonnymoon For Two There Will Never Be Another You Tenor Madness What Is This Thing Called Love When I Fall In Love Yesterdays You Stepped Out Of A Dream .

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UT Jazz Jury Repertoire – 5/2/06 Afternoon in Paris 43 a Foggy Day
UT Jazz Jury Repertoire – 5/2/06 Level 1 Tunes JA Level 2 Tunes JA Level 3 Tunes JA Level 4 Tunes JA Afternoon in Paris 43 A Foggy Day 25 Alone Together 41 Airegin 8 All Blues 50 A Night in Tunisia 43 Anthropology (Thrivin’ from a Riff) 6 Along Came Betty 14 A Time for Love 40 Afro Blue 64 Blue in Green 50 Beyond All Limits 9 Autumn Leaves 54 All the Things You Are 43 Body and Soul 41 Blood Count 66 Blue Bossa 54 Angel Eyes 23 Ceora 106 Bolivia 35 But Beautiful 23 Bird Blues (Blues 4 Alice) 2 Chelsea Bridge 66 Brite Piece 19 C Jam Blues 48 Bluesette 43 Children of the Night 33 Cherokee 15 Cantaloupe Island (96) 54 But Not for Me 65 Come Rain or Come Shine 25 Clockwise 35 Cantaloupe Island (132) 11 Cottontail 48 Confirmation 6 Countdown 28 Days of Wine and Roses 40 Don’t Get Around Much Anymore48 Corcovado-Quiet Nights 98 Dolphin Dance 11 Doxy (134) 54 Easy Living 52 Desafinado (184) 74 E.S.P. 33 Doxy (92) 8 Everything Happens to Me 23 Desafinado (136) 98 Giant Steps 28 Freddie the Freeloader 50 Footprints 33 Donna Lee 6 I'll Remember April 43 For Heaven’s Sake 89 Four 7 Embraceable You 51 Infant Eyes 33 Georgia 49 Groovin’ High 43 Estate 94 Inner Urge 108 Honeysuckle Rose 71 Have You Met Miss Jones 25 Fee Fi Fo Fum 33 It’s You or No One 61 I Got It Bad 48 Here’s That Rainy Day 23 Goodbye 94 Joshua 50 Impressions (112) 54 How Insensitive 98 I Can’t Get Started 25 Katrina Ballerina 9 Impressions (224) 28 I Didn’t Know About You 48 I Mean You 56 Lament for Booker 60 Killer Joe 70 I Hear a Rhapsody 80 In Case You Haven’t Heard 9 Love for
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JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
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June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
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Recital Diplomas in Jazz Repertoire and Programme Advice
Recital Diplomas in Jazz Repertoire and programme advice Please note that the current option to enter for a jazz diploma is being withdrawn. Entries for jazz diplomas will no longer be accepted after 31 March 2016. Candidates wishing to enter for a jazz diploma should ensure that their programme is submitted for approval allowing sufficient time for entry before 31 March 2016. The nature of a jazz performance would imply the inclusion of a significant degree of improvisation. The recital should aim to replicate as far as possible the experience of a live jazz performance in terms of musical content and presentation. Should you have difficulty in compiling a programme that reflects your instrument and musical personality, it may be profitable to consider that jazz musicians often group tunes together to form an informal suite, for example: Latin Music Music by one composer Music made famous by a great soloist from Jazz history. This could form the core of the performance and other tunes of a contrasting nature might then be profitably introduced. Different grooves would seem to be a good consideration in the design of a programme that reveals the best in a jazz musician so be mindful that the strategically placed ballad, the laid back bossa nova and the straight ahead swing may have their place in the overall design. ATCL Repertoire to be selected from material offering more accessible routes towards improvisation i.e. less rapid chord changes and blues and modal based tunes. Examples: All Blues; Autumn Leaves; Blue Moon; Bye Bye Blackbird;
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Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
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