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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 -
Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians -
Peace for the World Herding Them Unto the Resurrection.” Places
O 2 <=> m '‘‘j o M It 2 'S< CO C3 >■ m CD o 31 < o 1“ m imm ^ catholic cz n CO 3 3 : z I 03 < COLORADO’S LARGEST WEEKLY Thursday, M ay 18, 1967 Vol. LXI No. 41 At May 17 Installation 'Love, Involvement' Are Archbishop's Initial Words To The Faithful Archbishop James V. Casey, installed Wednesday, ordination and at episcopal consecration, Archbishop May 17, as Ordinary of the Denver Archdiocese, defined Casey emphasized that the priesthood "is not conferred the Christian vocation as learning "to truly love our upon an individual ... for hi.s self - exaltation or glorifi neighbor as ourself.” Speaking his first official words to cation. but precisely for the service of the community of the People of God in the archdiocese. Archbishop Casey the faithful.” noted that this love meant an effective seeking "to feed "The role of the Bishop and the priest,” he continued, the hungry, to house him in decency, to clothe him and "is to perpetuate Christ among the people of God.” to help educate his children.” Witnessing the ceremony in the ornate Cathedral The Ordinary’s talk came at the conclusion of impres sanctuary were Archbishop Vagnozzi and Archbishop sive installation ceremonies establishing him formally as Vehr. They sat at a dual throne, richly canopied in red, successor to Archbishop Urban J. Vehr, who retired specially erected at the east side of the sanctuary for from office Feb. 22 of this year. Following the homily, the solemn occasion. Floodlights, hung for the television during which he commented on the Christian’s mission cameras, brilliantly illuminated the church interior and "to become totally involved” with all the world’s prob accentuated the many - hued splendor of the medieval - lems, the new Denver prelate joined the Apostolic Dele modern function. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 112 CONGRESS, FIRST SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 112 CONGRESS, FIRST SESSION Vol. 157 WASHINGTON, FRIDAY, JANUARY 7, 2011 No. 3 Senate The Senate was not in session today. Its next meeting will be held on Tuesday, January 25, 2011, at 10 a.m. House of Representatives FRIDAY, JANUARY 7, 2011 The House met at 9 a.m. and was PLEDGE OF ALLEGIANCE GRESSIONAL RECORD daily, and I will called to order by the Speaker pro tem- The SPEAKER pro tempore. Will the continue to do so until Washington pore (Mrs. MILLER of Michigan). gentleman from Illinois (Mr. JACKSON) takes responsibility and ends its reck- less spending addiction. f come forward and lead the House in the Pledge of Allegiance. f DESIGNATION OF THE SPEAKER Mr. JACKSON of Illinois led the PRO TEMPORE Pledge of Allegiance as follows: SEND YOUR RESUMES The SPEAKER pro tempore laid be- I pledge allegiance to the Flag of the (Mr. JACKSON of Illinois asked and fore the House the following commu- United States of America, and to the Repub- was given permission to address the nication from the Speaker: lic for which it stands, one nation under God, House for 1 minute and to revise and indivisible, with liberty and justice for all. WASHINGTON, DC, extend his remarks.) January 7, 2011. f Mr. JACKSON of Illinois. Madam I hereby appoint the Honorable CANDICE S. ANNOUNCEMENT BY THE SPEAKER Speaker, as we enter 2011, we find our- MILLER to act as Speaker pro tempore on selves in the same jobs situation as in this day. -
The Bishop, the Coach & the Mayor
Saint Mary's College of California Saint Mary's Digital Commons Scholarship, Research, Creative Activities, and Interdisciplinary Works Community Engagement Spring 2014 The Bishop, The Coach & The Mayor: Three Characters in College History L. Raphael Patton FSC Saint Mary's College of California, [email protected] Follow this and additional works at: https://digitalcommons.stmarys-ca.edu/collaborative-works Repository Citation Patton, L. Raphael FSC. The Bishop, The Coach & The Mayor: Three Characters in College History (2014). [article]. https://digitalcommons.stmarys-ca.edu/collaborative-works/49 This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. This Article is brought to you for free and open access by the Scholarship, Research, Creative Activities, and Community Engagement at Saint Mary's Digital Commons. It has been accepted for inclusion in Interdisciplinary Works by an authorized administrator of Saint Mary's Digital Commons. For more information, please contact [email protected]. 1 The Bishop, The Coach & The Mayor Three characters in College history Saint Mary’s College 2 3 The Bishop: Alemany and his college Preface 5 Introduction 7 1 California 9 2 Spain 17 3 Church 21 4 San Francisco 27 5 The Vicar General 33 6 Italy 41 7 Later Years 45 8 The end 49 Appendices 55 Saint Mary’s College 4 5 Preface The history of the Church in California, the history of Saint Mary’s College and the story of the Dominicans on the West Coast have each been written and rewritten, supported by impressive scholarship. Archives, newspaper morgues and libraries have been mined for material. -
JJ Bio Full 2020 (400)
Jerome Jennings is a drummer, activist, bandleader, composer, sideman and educator. His debut recording ‘The Beast’ is a reflection of the every day joys and traumas of black life in the U.S. It was named one of the top three Jazz releases by NPR, received a four star rating in Downbeat Magazine, and was nominated for the prestigious French ‘Grand Prix du Disque’ award for Album of the Year in 2016. Jerome’s sophomore recording, ‘Solidarity’, released November 2019 was recognized by NPR as best music that spoke truth to power of 2019. Jerome is a pertinent performer. To date Jerome has performed, toured and recorded with legendary musicians like Sonny Rollins, Hank Jones, Gerald Wilson, Christian McBride, Ron Carter, Dee Dee Bridgewater, Wynton Marsalis (J@LC), The Count Basie Orchestra, Philip Bailey, Henry Butler, and countless others. He has also made recordings and shared the stage with contemporary musicians Sean Jones, Camille Thurman, Jazzmeia Horn, Christian Sands, Charenee Wade, and Bokani Dyer to name a few. The summer of 2007 Jerome earned a MM from the prestigious Juilliard School in Manhattan NY. Jerome has been the Resident Director of The Juilliard Jazz Orchestra since fall 2017. He passed Jazz At Lincoln Centers Swing University 301 history course: The most comprehensive study of jazz from a non- performance perspective, available. Jazz At Lincoln Center has Jerome Jennings on file as an accredited jazz scholar. Jerome has participated as a spoke on several panels including Chamber Music America: Music, Language, and Revolution; Lincoln Center: Freedom’s State of Mind; Winter Jazz Festival: Jazz & Gender: A Discussion Of Community, Culture & Participatory Allies. -
Canadian Journal of Dental Hygiene V43n6
CANADIAN JOURNAL OF DENTAL HYGIENE · JOURNAL CANADIEN DE L’HYGIÈNE DENTAIRE CCJJDHDH JJCHDCHD November–deCEMBER 2009, VOL. 43, NO. 6 Advocacy education Poster presentations at the NADHRC Increasing cultural competence Heritage Dental Hygiene, Niagara-On-The-Lake, ON, 326 THE OFFICIAL JOURNAL OF THE CANADIAN DENTAL HYGIENISTS ASSOCIATION Position for commercial advertisement President’s message de la PRÉSIDENTE Influences of change L’influence du changement feel privileged to write my first message to you ’est pour moi un privilège de rédiger ce premier I as President of the Canadian Dental Hygien- Cmessage à titre de présidente de l’Association ists Association. I also feel honoured to hold canadienne des hygiénistes dentaires. C’est aussi this position. Twenty four years ago when I un honneur d’occuper ce poste. Il y a vingt-quatre graduated from the dental hygiene program at ans, jeune diplômée du programme d’hygiène den- the University of Alberta, I joined CDHA and taire de l’Université de l’Alberta, je joignais les rangs have been a member every year since. I believe Jacki Blatz, de l’ACHD à laquelle je renouvelle mon adhésion à that this connection is the most value added RDH tous les ans depuis. Je crois que c’est le lien le plus membership that Canadian dental hygienists précieux qu’ont les hygiénistes dentaires canadien- can have. Why? nes. Pourquoi ? It’s simple. Who would not want to belong to the most C’est simple. Qui ne voudrait pas appartenir à la voix col- recognized collective voice of dental hygiene in Canada? lective la plus reconnue en hygiène dentaire au Canada ? Outre Along with numerous member benefits, CDHA is the les nombreux avantages qu’elle offre à ses membres, l’ACHD source for access to professional publications and evidence est une source d’accès aux publications professionnelles et à des based position papers. -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. -
Charter Reform in Los Angeles, 1850-2008 A
UNIVERSITY OF CALIFORNIA, SAN DIEGO The Rules of Ruling: Charter Reform in Los Angeles, 1850-2008 A Dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Political Science by James Warren Ingram III Committee in charge: Professor Steven P. Erie, Chair Professor David G. Gutierrez Professor Samuel H. Kernell Professor Victor V. Magagna Professor Isaac W. Martin 2008 Copyright James Warren Ingram III, 2008 All rights reserved. The Dissertation of James Warren Ingram III is approved, and it is acceptable in quality and form for publication on microfilm: __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ __________________________________________________________ Chair University of California, San Diego 2008 iii DEDICATION This dissertation is dedicated two women—my mother, Gerri Dack, and my wife Clarissa Ingram. Without their love and patience, it would not have been possible. My wife, Clarissa has endured my obsession with charter reform in specific and Los Angeles in general far longer than I would care to admit. Her own interests are very different, but her tolerance and intelligence has allowed us to stay close as we develop our divergent intellectual interests. By attending long charter reform meetings and discussing the issues with me over a period of years, she has come to understand the field better than many who consider themselves experts. My mother, Gerri has always encouraged me to think of a larger audience in my intellectual pursuits. She has always valued common sense over fancy theories, and I have relied on my understanding of her sensibilities as a test of whether a particular way of looking at a subject made any sense, or would be a mere exercise in mental gymnastics.