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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 -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
University of North Carolina at Wilmington Catalogue: Graduate
» I rrrlTi^crrjfl —o^ FOR iSE i mm ; The University of North Carolina at Wilmington. Graduate Catalogue 2003-2004 Bulletin 13 The University of North Carolina at Wilmington is committed to and will provide equality of educational and employment opportunity for all persons regardless of race, sex, age, gender, color, national origin, ethnicity, creed, religion, disability, sexual orientation, political affiliation, marital status or relationship to other universi- ty constituents - except w/here sex, age or ability represent bona fide educational or occupational qualifica- tions or where mahtal status is a statutorily established eligibility chtehon for state-funded employee benefit programs. Further, the university seeks to promote campus diversity by enrolling and employing a larger number of minorities and women where these groups have historically been and continue to be under-represented with- in the university in relation to availability and extends preference in staff employment to veterans and current state employees seeking promotion. Related policies are included in the Equal Opportunity, Diversity, and Unlavifful Harassment section of this publication. INFORMATION Graduate Admissions - 910.962.3135 or 910.962.4117 - www.uncwil.edu/gradJnfo/ Financial Aid and Veterans Services- 910.962.3177 - wvw.uncwil.edu/finaid/ Registrar - 910.962.3125 - www.uncwil.edu/reg/ University Operator - (910) 962-3000 e-mail: [email protected] httpV/www.uncwiI.edu/ Cover Photographs: Brownie Harris, William Harris and Jack Mellot TABLE OF CONTENTS -
Boston Symphony Orchestra Concert Programs, Summer, 1967-1968
' %j "V-TT-ni^iiii! 1 11 ?' *r* t i \%. i *:ies ;ai « t § i #% ^ '"•.'"' •'..' "'•- ; '- ". " At $9.40*a fifth, it ought to be called Sir Jonathan Walker B Lincoln Center, then to Joe's place for jazz. John Meyer woolens for autumn dates in town. Among the reasons : clear, strong, up-beat colorings and virtuoso tailoring—traditionally i w John Meyer. At discerning stores everywhere. ^ ven it this is all you know about woofers and tweete you can still get a great stereo. iiiiiip^ i§ii 5 ---V-V ''--•"•'*' aaSBssHS .v 111 i I You have almost all the stereo-judging equip- It also has a 23 all-silicon transistor amp ment you need right on your head. (Your ears.) with a full 66 watts of music power for i Armed with your ears, you'll probably end up channel. with a good stereo. Unfortunately, it won't be a Unfortunately, you can't read how go great stereo. Because there are certain things stereo sounds. So bring your head to your r your ears can't tell you. (Like what kind of equip- est Sony dealer. And let your ears do their s ment you'll need, etc.) Of t But now you can get a great stereo, no mat- yea ter how little you know. With the Sony HP-550 ing Compact Stereo System. of r It has a Garrard turntable. A 13-transistor amr FM /AM tuner. Dual airtight speakers with 10" woofers and 4" tweeters. (A woofer transmits bass and a tweeter transmits treble.) Funny Some people still think a Diners Club Card is just for beautiful meals* You can swing into Puerto Rico on a Diners than any other credit card. -
Modern Jazz Quartet
THE MUSEUM OF MODERN ART No 95 II WEST 53 STREET. NEW YORK 19. N. Y. For Release TILEPHONI: CltCLI S4900 After Friday, August 5> I960 MODERN JAZZ QUARTET TO GIVE CONCERT AT MUSEUM jazz in the Garden continues at the Museum of Modern Art with The Modern Jazz Quartet, Thursday, August 11, at 8:30 p.m. The ensemble of virtuoso soloists consists of John Lewis, piano, Percy Heath, bass, Milt Jackson, vibraharp, and Connie Kay, drums, This is the ninth in a series of ten Thursday evening promen ade concerts co-sponsored and produced by Metronome magazine. Known as the most highly developed and integrated of the small contemporary groups, The Modem Jazz Quartet was formed in 1951 by four veterans of the Dizzy Gillespie band. Traditional jazz concepts structured on the fugue and classical forms, polished instrumentation, and freedom for individual innovation within the discipline of the group, leads to what John Leewis calls " a collective impro visation which swings." The Quartet has given concerts at Town Hall and Carnegie Hall, at many American universities, at the Newport, French Lick and Monterey festivals. It has joined the Symphony of the Air, the Cleveland Symphony and the Buffalo Philharmonic in concert performances. During the past four years it toured Austria, Belgium, France, Germany and Italy, opening in England at Royal Festival Hall. Not restricted to the concert stage, the Quartet has played night club dates in San Francisco, Chicago, New York and Paris. Much of its repertoire, available on Atlantic Recor-ds, consists of works composed either by John Lewis or Milt Jackson. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
1916-2016 National Park Service Centennial
Published for the Members and Friends IN THIS ISSUE: of the Harpers Ferry U.S Mint to Historical Association Release Harpers Spring 2016 Ferry Coin Fifteenth Annual Don Redman Heritage Awards 1916-2016 National Park and Concert Service Centennial Authors & Artists: A Centennial “...which purpose is to conserve the scenery and the natural Celebration and historic objects and the wild life therein and to provide Association’s for the enjoyment of the same in such manner and by such Executive Director means as will leave them unimpaired for the enjoyment of is Retiring future generations.” —National Park Service Organic Act ollowing vigorous lobbying by indus- Above left: First NPS Director Stephen T. trialist and conservationist Stephen Mather inspects a trail in Glacier National Park, F T. Mather (1867-1930), President ca. 1920s. (National Park Service Historic Woodrow Wilson signed into law the Na- Photo Collection). Above right: NPS Director tional Park Service Organic Act on August George B. Hartzog and former Director Horace The picture which appears M. Albright attend a dinner at Hilltop House, on our newsletter’s nameplate, 25, 1916. Congress charged the new agency dating from 1803, is one of the with preserving and managing the great Harpers Ferry, WV, to celebrate the 50th Anniversary of the NPS, August 29, 1966. oldest prints of Harpers Ferry. natural resources of America and assigned Twenty years earlier, in 1783, (National Park Service Historic Photo Collection) Mather as its first director in 1917. Thomas Jefferson had declared For a century, the NPS has been the that this view was “worth a steward of this country’s “crown jewels,” lished Harpers Ferry as a National Monu- voyage across the Atlantic.” over 400 cultural sites including monu- ment in 1944, and then as Harpers Ferry ments, parkways, battlefields, cemeteries, National Historical Park on May 29, 1963. -
HOWARD GRAHAM TRIO Shiloh Baptist New Year's Eve
tmzwm mBamem riff offfo COLUMBUS, OHIO THI PEOPLE'S SENTINEL CHAMPION ' •H VOL. 11. No. 29 SATURDAY, JANUARY 2, 1960 20 CENTS COLUMBUS, OHIO YFAR 19 bO V0LUMEJ___12£ I vy-uAA^-vt__A-\ * JONES GETS SEAT T1T1 FM-O M-La -1 CIRCLES REPRESENT DATES OF MATERIAL MICROFILMED JAN 1 (j> 3 4 5 6 7 FEB 1 2 3 10 8 S 10 11 12 13 1*+ 8 9 15 © 17 16 19 20 21 15 16 17 22 f2^) 24 25 27 28 22 23 24 26 Story On Page 2 29 C_E> 31 » 29 MAR 1 2 3 4 6 7 APR 8 9 10 11 13 14 15 16 17 18 <2> 20 21 'Human Torch' Slays Wife 22 23 24 25 27 28 Sfory On Page I 29 30 31 3 © 5 10 (_5) 12 Autoist Dies In Car Crash Story On Page 3 Pastor's Plea Soothes His Angry Flock WW WW '."l1". '.'-•"•" ""w- REV. RUSSELL M. JONES. 38 year old Bap 1st minister who was appointed to a Mat am. Columbus City Council late Wednesday, Is pictured receiving oath of office, administered by Ferd W.. Pickens, utility commissioner. Mayor. M. E. Sensenbrenner, who made the appoint* -ffJrV On PilflP \ ' rncn*- is sccn'hoIdinj a Bible at the historical ev.nt. Jones, a promineut Democrat and chaplain, • WH atJC J, of Benjamia Franklin hospital, b;com-s the first Neffro to serve on Council id more than M years, tie succeeds Fred Shoemaker, who resign d to take over a municipal eo_rrt judgeship. SBKHSHMBH j SATURDAY. -
Jack the Ripper in Film and Culture
Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/[14927] Clare Smith Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith University of Wales: Trinity St. David United Kingdom Crime Files ISBN 978-1-137-59998-8 ISBN 978-1-137-59999-5 (eBook) DOI 10.1057/978-1-137-59999-5 Library of Congress Control Number: 2016938047 © The Editor(s) (if applicable) and The Author(s) 2016 The author has/have asserted their right to be identifi ed as the author of this work in accor- dance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. -
Incredible Jazz Guitar of Wes Montgomery”— Wes Montgomery (1960) Added to the National Registry: 2016 Essay by Maristella Feustle (Guest Post)*
“The Incredible Jazz Guitar of Wes Montgomery”— Wes Montgomery (1960) Added to the National Registry: 2016 Essay by Maristella Feustle (guest post)* Album cover Original label Wes Montgomery “The Incredible Jazz Guitar of Wes Montgomery” was the breakthrough recording that brought Wes Montgomery (1923-1968) to the attention of a wider audience and kept him there. Critically acclaimed in the year of its release, with a five-star review by Ira Gitler in “DownBeat” magazine, the album has remained a landmark recording in the history of jazz guitar, and one of timeless artistry. It is noteworthy for its creativity, its impact in securing Montgomery’s place among legendary jazz guitarists, and for its enduring inspiration to musicians and listeners. Recorded January 28 and 30, 1960 in New York City, at the storied Reeves Sound Studios, the album was one of many Riverside titles which featured Montgomery as a leader or a sideman between 1959 and 1963, and part of several Riverside sessions that included Montgomery that were made during that week. Those sessions resulted in Nat Adderley’s “Work Song” and “The Incredible Jazz Guitar of Wes Montgomery,” both of which were produced by Orrin Keepnews. Only months earlier, Nat’s brother, Julian “Cannonball” Adderley had brought Montgomery to Keepnews’ attention after hearing him in Montgomery’s hometown of Indianapolis. While Montgomery’s debut album for Riverside and Keepnews, “The Wes Montgomery Trio” heralded “a dynamic new sound,” it was “The Incredible Jazz Guitar” with which that new sound became a permanent fixture of jazz guitar. The album itself is a study in versatility, as Montgomery excels equally on up-tempo tunes, blues, ballads, jazz waltz, and medium swing, with the support of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums. -
Respectability and the Modern Jazz Quartet; Some Cultural Aspects of Its Image and Legacy As Seen Through the Press
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2011 Respectability and The Modern Jazz Quartet; Some Cultural Aspects of Its Image and Legacy As Seen Through the Press Carla Marie Rupp CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/74 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Respectability and The Modern Jazz Quartet: Some Cultural Aspects of Its Image and Legacy As Seen Through the Press By Carla Marie Rupp Submitted in Partial Fulfillment of the Requirements for the M.A. Degree The City College of New York Thesis Adviser, Prof. Barbara R. Hanning The Department of Music Fall Term 2010 2 CONTENTS ACKNOWLEDGMENTS 3 1. INTRODUCTION 5 2. RESPECTABILITY THROUGH DRESS 22 3. PERFECTION IN PRESENTATION 29 4. CHANGING THE VENUE FROM NIGHT CLUB TO CONCERT HALL 34 5. PROFESSIONALISM OF THE MJQ 43 6. PERSONAL CONCLUDING REMARKS 48 BIBLIOGRAPHY 54 3 Acknowledgements I would like to give a big thanks of gratitude and applause to the incredible Professor Barbara R. Hanning for being my thesis advisor! Her dedication, personal editing, attention to detail and accuracy, kindness and help were invaluable in completing this project on the MJQ. As Chair of the Music Department, she advised me on my BFA requirements in music at City College. And now--some years later with Professor Hanning's encouragement, wisdom and editing--I am thrilled to complete my M.A. -
Dominican Republic Jazz Festival @ 20
NOVEMBER 2016 VOLUME 83 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin