DOCSLIB.ORG

Celebrating Oscar Peterson: a Canadian Icon for Our Time Celebrating Oscar Peterson – a Canadian Icon for Our Time

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Celebrating Oscar Peterson: a Canadian Icon for Our Time Celebrating Oscar Peterson – a Canadian Icon for Our Time Music Monday Learning Resource Celebrating Oscar Peterson: A Canadian Icon for Our Time Celebrating Oscar Peterson – A Canadian Icon for Our Time • Oscar Peterson – Adversity and Introduction Triumph, “Hymn to Freedom” • Finale: Celebrating the Legacy of This learning package has been developed Oscar Peterson to explore and celebrate the world-renowned Canadian jazz pianist and composer – Oscar Each of the units contains: Peterson. A native of Montreal, he became an internationally known artist while still • an introduction that sets the historical in his twenties and his career spanned six and curriculum context decades. He is recognized today as one • suggested learning activities of the world’s greatest jazz pianists. He was • links to online resources (audio, visual also an acclaimed composer; his Hymn to and text) Freedom is perhaps one of his best known • ideas for extending the learning compositions. activities beyond the classroom walls and into the community. Oscar Peterson (or O.P. as he was known to his friends) wasa master musician, both as a soloist The introductory unit highlights a new and as a member of jazz trios and quartets. He biography written by Oscar’s daughter Céline was also, throughout his life,much involved Peterson, along with abbreviated versions, in advocating for civil rights. He performed and suggestions for introducing students to tirelessly, both in Canada and world wide, and the world of jazz. The final unit is designed was an exemplary ambassador for Canada to provide suggestions for celebrating what throughout the world. has been learned about this Canadian icon - both in the classroom and in the wider school Recognizing the rich contribution of this community. Canadian icon to the world of music and the fabric of Canada, the core units in this learning package will focus on: • Prelude: Biography and Introduction to Jazz • Oscar Peterson - Maestro of the Keyboard • Oscar Peterson – ‘O.P.’ and His Musical Friends A Word about Curriculum Connections Curriculum in schools today, whatever the subject and level, is shaped by what students NOTE: The suggested should know, be able to do and value when they finish Grade 12. These expectations learning activities in this centre around: package are designed • citizenship (including environmental, for intermediate, junior community and social issues) • personal and career development and senior high levels. • critical thinking • technological fluency Icons are used to indicate • communication suggested levels but • creativity / innovation teachers are encouraged Because all curriculummust assist students in achieving these general expectations, they can to browse and select those provide a helpful reference when considering activities that will be links with the curriculum, whatever the subject and grade level. most engaging for their With all this in mind, it is hoped that teachers students, shaping and of Music, Social Studies (including Canadian Studies) and Language Arts will find in these modifying them to meet units a rich resource for planning relevant their needs and interests. learning activities for their students. Senior Elementary Junior High Senior High Celebrating Oscar Peterson • A Canadian Icon for Our Time | 3 Prelude – Oscar Peterson Biography and Introduction to Jazz This section of the learning package provides an introduction to Oscar Peterson and to jazz. Resources It highlights a new biography of Oscar, written • Canadian Jazz Archive Online by his daughter Céline Peterson, that will Learning Activities be a key reference throughout the learning www.canadianjazzarchive.org package. Also included are suggestions for • Georgia on My Mind an introduction to jazz that could be used (Oscar Peterson, piano) when students do not have prior knowledge https://youtu.be/6tY_RE7tWzM of the genre. • Place St. Henri from Canadiana Suite (Oscar Peterson Trio, 1983) https://youtu.be/Dlvu1AXsd70 Biography Grade levels: 4-12 The full biography and two shorter versions are included in the Appendix. For convenience, Key Topics: Oscar links to these biographies will be provided in Peterson’s life and music, each unit. introduction to jazz Prior Knowledge: basic understanding of musical NOTE: The biography found on Canadian Jazz Archive elements. Online contains errors. The biography included in this learning package should always be used. Refer to what has been learned about Learning Activities Peterson’s early life in Montreal. Ask how many students have been to Montreal. How would they describe it today? Speculate about what Introduce this unit by asking students to name Montreal might have been like in the 1940s some Canadian ‘superstars’. Challenge them and 1950s. Do a quick online search to find to identify those in fields other than sports. details. How might life in Montreal at that time Explain that Oscar Peterson was a very real have shaped Oscar Peterson as a person? as ‘superstar’, a jazz piano virtuoso. Ask whether a musician? students know what a virtuoso is. Can they name any virtuosos? Listen to Place St. Henri from Peterson’s Canadiana Suite. This movement was written Ask students whether they know the names to reflect the area in Montreal where Oscar of other famous Canadian jazz musicians. grew up. Ask students to identify possible Challenge them to search online to find three characteristics of the area that are suggested and share the names with the full group. How by the music. many students found the name of Oscar Peterson during their search? Displaying the photograph provided with the biography, explain that students will be NOTE: The following activities learning about the world-famous Canadian are adapted from the Canadian jazz pianist Oscar Peterson and will have Jazz Archive Online (Listening opportunities for listening, watching and Responding Activities). performances and making music as they do so. Divide the biography into 4-6 sections. Have Ask students what they think jazz is. Brainstorm students individually read a given section a list of words/characteristics that they of the biography, and respond to specific associate with jazz. What do they think being a questions that they have been given such as: jazz musician involves? Record their thoughts and refer to them again after they have • What did you notice especially in your completed activities in this learning package, assigned reading? noting what they would now change/add to • What surprised you the most? their original thoughts. • What particular detail was the most memorable/significant for you? Play examples of various jazz genres (e.g., blues, boogie woogie, cool jazz). Talk about As a class, compile a list of the most significant the main characteristics of each and identify things about Oscar Peterson. Then display what they have in common. the video clip of Georgia on My Mind that shows wonderful photographs of Oscar while students listen to the music. Celebrating Oscar Peterson • A Canadian Icon for Our Time | 5 Have a brief class discussion about what students think improvisation means. What Involving the Community adjectives would they use to describe it? Oscar Peterson said that improvisation was Invite jazz musicians in the community to visit “instant composition”. Play a piece of jazz the class to perform, answer questions and talk that highlights improvisation (There are about how they got involved in playing jazz, why many excellent examples on the Canadian they love it, what it means to them. Jazz Archive Online.) Add to their original thoughts. Is it a free-for-all? Or are there During Black History month, invite someone ‘rules’ to improvisation? from the local black community who grew up in Canada or the United States to visit Have students sit in a circle and create a the classroom to talk about black history in collective impromptu short story or rap. As North America. It would be ideal if there were musicians would have a key, so the students someone who could do a presentation about are given a topic for the story; as a musical the black porters on the Canadian railroad. piece would have internal structure, so should the story have a beginning, middle and end; as musicians combine and communicate so that the performance has cohesion, so should the story flow as if it has one voice. Play the example of jazz that features improvisation again. Discover whether the students now have a different perspective on improvisation after having had the experience of trying to create a cohesive story as a group. Oscar Peterson – Maestro of the Keyboard Renowned today as one of the world’s greatest jazz pianists of all time, Oscar Peterson was Resources referred to by jazz great Duke Ellington as “the maharajah of the keyboard”. His technical •• Biography mastery, tone, sense of rhythm and ability to •• Oscar Peterson improvise were superb. Whether playing solo CBC Flashback Interview or in a jazz trio or quartet, his virtuosity was https://youtu.be/JlwocnS5dQ8 exceptional. This unit will explore aspects of •• Georgia on My Mind (with b&w the singular talent of this Canadian jazz pianist. photos of Oscar Peterson) (Note: example of right hand solo melody and left hand rhythm) https://youtu.be/6tY_RE7tWzM •• Those 7 Times Oscar Peterson Went Next Level Genius https://youtu.be/Gxs4KWxcw1w Grade levels: 4-12 •• C Jam Blues (Oscar Peterson Trio Live in Denmark, 1964, with Ray Brown, Key Topics: Piano as solo bass and Ed Thigpen, drums) https://youtu.be/NTJhHn-TuDY and ensemble instrument, •• Boogie Blues Etude from BBC Live at Ronnie Scott’s (with Barney Kessel and early training, technique, Niels Henning Orsted Pedersen, bass) https://youtu.be/xdd5pn1xs7M improvisation, virtuosity, •• Bye Bye Blackbird from My Favourite melody and rhythm Instrument album (Oscar Peterson) •• Oscar Peterson The Piano Lesson (interview with Dick Cavett) https://youtu.be/ec-FrnaU0rs •• Tea for Two Comparison (Peterson, Costa, Tatum) https://youtu.be/A8AWBpWNPQQ •• Night Train (Oscar Peterson, piano) https://youtu.be/0yQyjcpnx3g Celebrating Oscar Peterson • A Canadian Icon for Our Time | 7 a matter of blatant change from Learning Activities classical music to jazz; it’s a matter of modification…When I am working, it’s a challenge, not a chore.
Load more

Recommended publications
  • Shall We Stomp?
    Volume 36 • Issue 2 February 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Shall We Stomp? The NJJS proudly presents the 39th Annual Pee Wee Russell Memorial Stomp ew Jersey’s longest Nrunning traditional jazz party roars into town once again on Sunday, March 2 when the 2008 Pee Wee Russell Memorial Stomp is pre- sented in the Grand Ballroom of the Birchwood Manor in Whippany, NJ — and you are cordially invited. Slated to take the ballroom stage for five hours of nearly non-stop jazz are the Smith Street Society Jazz Band, trumpeter Jon Erik-Kellso and his band, vocalist Barbara Rosene and group and George Gee’s Jump, Jivin’ Wailers PEABODY AT PEE WEE: Midori Asakura and Chad Fasca hot footing on the dance floor at the 2007 Stomp. Photo by Cheri Rogowsky. Story continued on page 26. 2008 Pee Wee Russell Memorial Stomp MARCH 2, 2008 Birchwood Manor, Whippany TICKETS NOW AVAILABLE see ad page 3, pages 8, 26, 27 ARTICLES Lorraine Foster/New at IJS . 34 Morris, Ocean . 48 William Paterson University . 19 in this issue: Classic Stine. 9 Zan Stewart’s Top 10. 35 Institute of Jazz Studies/ Lana’s Fine Dining . 21 NEW JERSEY JAZZ SOCIETY Jazz from Archives. 49 Jazzdagen Tours. 23 Big Band in the Sky . 10 Yours for a Song . 36 Pres Sez/NJJS Calendar Somewhere There’s Music . 50 Community Theatre. 25 & Bulletin Board. 2 Jazz U: College Jazz Scene . 18 REVIEWS The Name Dropper . 51 Watchung Arts Center. 31 Jazzfest at Sea.
    [Show full text]
  • Ing the Fj Needs of the Music & Record Ti Ó+ Industry
    . I '.k i 1 Dedicated To £15.o nlr:C, .3n0r14 Serving The fJ Needs Of The Music & Record ti Ó+ Industry ra - Vol. 21, No. 1004 September 3, 1966 In the opinion of the editors, this week the following records are the WHO SINGLE PICKS OF THE WEEK LU M MY UNCLE 6 USED TO LOVE IN THE ME BUT SHE DIED y 43192 WORLD JUST LIME A WOMAN Trendsetting Bob Dylan goes Absolutely nonsense song with Gentle love song, "A Time for after a more soothing musical gritty delivery by Miller. Should Love," by Oscar winners Paul background than usual on this catch ears across the country Francis Webster and Johnny ditty, with perceptive lyrics, as Roger, with his TV series Mandel should score for Tony about a precocious teeny bopper about to bow, recalls his odd whose taste and style remains (Columbia 4-43792). uncle (Smash 2055). impeccable (Columbia 4-43768). SLEEPERS OF THE WEEK PHILIPS Am. 7. EVIL ON YOUR MIND , SAID I WASN'T GONNAN TELL 0 00000 TERESA BREARE S AM t - DAVE A1 Duo does "Said I Wasn't Gonna The Uniques have been coming The nifty country song "Evil on Tell Nobody" like it should be up with sounds that have been Your Mind" provides Teresa done. Sam and Dave will appeal just right for the market. "Run Brewer with what could be her to large crowds with tfie bouncy and Hide" could be their biggest biggest hit in quite a while. r/ber (Stax 198). to date. Keep an eye on it Her perky, altogether winning (Paula 245).
    [Show full text]
  • CELEBRATING OSCAR PETERSON Posted on February 16, 2021
    BLACK HISTORY MONTH | CELEBRATING OSCAR PETERSON Posted on February 16, 2021 Category: News Oscar Emmanuel Peterson (1925–2007) | Agent of Change | Remembered as a virtuoso jazz pianist and composer of Hymn to Freedom, an international anthem to civil rights. The son of immigrants from the West Indies, Oscar Peterson was born in Montréal, Québec and grew up in Little Burgundy, a predominantly Black neighbourhood of the city where he was immersed in the culture of jazz. He was five years old when he began taking music lessons from his father. He also studied classical piano with his sister, Daisy Peterson Sweeney, who went on to teach other renowned jazz artists. Peterson later attended the Conservatoire de musique du Québec è Montrèal and studied classical piano with Paul de Marky, but with a deep interest in jazz, he also played boogie-woogie and ragtime. At only 14 years old, Peterson won the national Canadian Broadcasting Corporation music competition, after which he dropped out of high school and joined a band with jazz trumpeter and classmate Maynard Ferguson. While still a teenager, Peterson played professionally at hotels and at a weekly radio show. He also joined the Jonny Holmes Orchestra as its only Black musician. From 1945 to 1949, Peterson recorded 32 songs with RCA Victor. Beginning in the 1950s, he released several albums each year while appearing on over 200 albums by other artists including Billie Holiday, Louis Armstrong, Count Basie, Ella Fitzgerald, and Dizzy Gillespie. In 1949, jazz impresario Norman Ganz was on his way to the airport in Montréal, when hearing Peterson playing live on radio, asked the cab driver to take him to the club where the concert was being aired.
    [Show full text]
  • Newsletter 4
    August 2018 The Ninth Annual Monty Alexander Jazz Festival by Becca Newell Jazz enthusiasts rejoice! The energetic, ever-swingin’ since birth, the 17-year-old was recently named one of seven rising Monty Alexander returns to Easton this Labor Day weekend for his stars for 2018 by USA Today network’s 201 Magazine. Adding to eponymous festival, featuring an exciting lineup that boasts some—if not the long list of accolades, Whitaker’s debut album Outta the Box, the—best jazz musicians in the country. which was released last year, was named “one of the best debut albums The Ninth Annual Monty Alexander Jazz Festival will be held Friday, of 2017” by New York City Jazz Record. This show starts at 11 a.m. August 31st to Sunday, September 2nd, at the Avalon Theatre. Saturday’s matinee show at 2 p.m. highlights an extraordinary range of American and Brazilian musicians, featuring tenor/alto saxophonist Legendary jazz piano master Monty Alexander Harry Allen, renowned for his inventive tone that’s rooted in tradition. Allen will lead a salute to Stan Getz and the Getz/Gilberto collabora- tion with Antonino Carlos Jobim, which resulted in an award-winning album by the same name. Later that evening, at 8 p.m., Monty Alexander takes the stage. Considered one of the top five jazz pianists ever, Alexander’s musi- cal expression combines elements of the blues, gospel, calypso, and reggae. Known for his vibrant personality, charisma, and breathtaking talent, Alexander’s performance is not to be missed. Lyrical composer and trumpeter Dominick Farinacci photo: Joe Martinez The festival kicks off Friday evening at 8 p.m.
    [Show full text]
  • Jazzletter PO Box 240, O)Ai CA 93024-0240
    G€rE Lrc Ad Libitwm e" Jazzletter PO Box 240, O)ai CA 93024-0240 of jazz and swing, of Basie and Duke. night-"1 Knights of the London House want this music to connect with that audience and not just other musicians."And again he excoriated the new Swing Part II Groups. The tour was to be called Swing Magic. Almadon Produc- and set an itinerary. The tour was to I remembered the Peterso n albtm Motions turd Emotions, tvith tions printed brochures two days of rehearsal in Ottawa affangements by Claus Ogerman, whose work did not come beginseptember 16, after historic Chateau Laurier hotel ' Then cheap. A large orchestra was assembled in the studio' Oscar urd u p"rfot ance at the Vancouver. San Francisco, tried out the piano, said, "l don't like the box,"and walked it woutd proceed to Toronto, all the performances taking out. leaving all those musicians, who had to be paid under Chicago, ind New York, with An extra performance union contract, sitting there. Hans Georg Bruner-Schwer, who place in historic hotels and ballrooms' New York schedule, with profits was producing the album for his MPS label, was stuck with was eventually added to the fund for the Apollo Theater' the very considerable costs' Fortunately for him, he was able to go to a restoration report on the formation of the to record the orchestra and then overdub Peterson later in N.*.pup".s continued to In The Toronto Star, Germany. But Oscar was capable of such cruel caprices, and tour with almost breathless anticipation' "the event has the musical I remembered it.
    [Show full text]
  • The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
    ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura.
    [Show full text]
  • FOR IMMEDIATE RELEASE: CONTACT: Don Buxton 410 819-0380 Or
    FOR IMMEDIATE RELEASE: CONTACT: Don Buxton 410 819-0380 or JUNE 6, 2012 Amy Steward 410 829-0436 Third Annual Monty Alexander Jazz Festival to Deliver Lineup of Acclaimed Artists ThE third annual Monty AlExandEr Jazz FEstival will takE PlacE in Easton on Labor Day weekend from August 31 through SEPtembEr 2, 2012. ThE FEstival is PrEsEnted by Jazz on thE ChEsapEakE, a Program of ChEsapEakE ChambEr Music, and will bE hEld at Easton’s historic Avalon ThEatrE. ThE FEstival hEadlinEs lEgEndary jazz Pianist Monty AlExandEr, thE FEstival’s artistic dirEctor and namEsakE, lEading thE Monty AlExandEr Quartet. AlExandEr rEcEntly rEcEivEd a Grammy nomination for bEst rEggae album for his rEcording “Monty AlExandEr HARLEM-KINGSTON EXPRESS: LIVE!” His music, which bridgEs thE worlds of AmErican jazz, PoPular song, and Jamaican rEggae, twicE toPPEd thE USA and world jazz charts in 2011. ThE Avalon ThEatrE’s intimate sEtting and thE linEuP of suPErb artists makE thE Monty AlExandEr Jazz FEstival an Eastern ShorE dEstination for Labor Day wEEkEnd. TrumPEt PlayEr Dominick Farinacci, who kickEd off last yEar’s FEstival in a duEt with Aaron DiEhl, will rEturn with thE Dominick Farinacci GrouP to oPEn thE FEstival on Friday EvEning, August 31 at 8 p.m. Farinacci’s horn rEcalls Early MilEs Davis and ChEt BakEr, among othEr trumPEt grEats. Dominick was rEcEntly fEaturEd on NPR's Jazz Rising Stars and rEcognized by ThE NEw York TimEs as “having thE PrEPossEssing charm and lyrical instinct of a jazz PoP-star.” Chuck Redd, a ShorE favorite, will lEad a Salute to DukE Ellington with thE UnivErsity of Maryland Jazz EnsEmblE on Saturday, SEPtembEr 1 at 4:00 P.m.
    [Show full text]
  • GCSE, AS and a Level Music Difficulty Levels Booklet
    GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked.
    [Show full text]
  • Sunday, August 10, 2014 Plaza De César Chavez Park, Downtown San Jose, CA Event Info: Summerfest.Sanjosejazz.Org
    ***For Immediate Release*** Media Contact: Jesse P. Cutler JP Cutler Media 415.826.9516 [email protected] Friday, August 8 - Sunday, August 10, 2014 Plaza de César Chavez Park, Downtown San Jose, CA Event Info: summerfest.sanjosejazz.org Second Line-Up Announcement: Bootsy Collins, Con Funk Shun, Pacific Mambo Orchestra, Donald Harrison w/ Special Guest Kevin Harris, Catherine Russell, Snarky Puppy, Soul Rebels, Jerry González and the Fort Apache Band, Jimmy Bosch, Pedrito Martinez Group featuring Ariacne Trujillo, Gypsy Allstars, Andre Thierry, Hot Club of Detroit, San Jose Taiko with Bangerz, Edgardo Cambón y Su Conjunto LaTiDo, Conjunto Chappottín y Sus Estrellas, Aaron Lington Quintet Plays the Music of Paul Simon, Viento de Agua, Otonowa Project, Monty Alexander and the Harlem-Kingston Express, Jesus Diaz y Su QBA, Isaiah Pickett Band, Alex Hahn and the Blue Riders, The 6th Annual Jazz Organ Fellowship, The Delgado Brothers, Beaufunk, Michael Bellar & the AS-IS Ensemble, Tango Jazz Quartet, Denise Perrier Trio with Houston Person, CJ Chenier and the Red Hot Louisiana Band, Leon Joyce Jr. Trio, John Worley's Mo-Chi Sextet: The Miles of Blue Project, San Jose Jazz High School All Stars "The San Jose Jazz Summer Fest is one of the most popular music festivals in the Bay Area." -KCBS "San Jose Jazz's Summer Fest proved to be a highlight of the summer for downtown yet again." -San Jose Mercury News "San Jose Jazz deserves a good deal of credit for spotting some of the region's most exciting artists long before they're headliners." -Andy Gilbert, San Jose Mercury News "…the festival continues to up the ante with the roster of about 80 performers that encompasses everything from marquee names to unique up and comers, and both national and local acts...." -Silicon Valley Community Newspapers San Jose, CA -- May 22, 2014 -- San Jose Jazz announces today additions to its artist line-up for the 25th Anniversary San Jose Jazz Summer Fest 2014, Silicon Valley's premier annual music event.
    [Show full text]
  • Choral Ensemble – Three-City Tour Photo: William Ellis Photo: William
    SUMMER 2009, VOLUME 13 www.queensu.ca/music Choral Ensemble – Three-City Tour Photo: William Ellis Photo: William The Queen’s University Choral Ensemble with the University of derful leadership and remarked that, “In addition to being able Toronto MacMillan Singers performed in Toronto, Ontario on to take our students on the road and have them perform beau- March 28th, Kingston, Ontario on April 2nd and in New York tifully in both Toronto and New York, it was the simple things City on April 5, 2009. like the sing ing on the bus, and the conversations between the Accompanied by an instrumental ensemble of students from students that made the entire trip truly memor able.” From a Queen’s and the University of Toronto, the three concerts were student perspective, it was the trip to another university, then to devoted entirely to a performance of Dr. John Burge’s Mass for New York City, where they not only performed in the presti- Prisoners of Conscience. In addition to the choir and instrumen- gious Lincoln Centre, but also had free time to explore a new tal ensemble, this work has prominent solos for baritone, mezzo- city with fellow students. soprano and a child vocalist. Dr. Doreen Rao, Elmer Iseler Chair Dr. Ireneus Zuk, Acting Director of the School of Music at of Choral Activities at University of Toronto, conducted the per- Queen’s, stated in an earlier letter, “The experience of perform- formances. As the work is dedicated to Amnesty International, ing on tour can have a profound influence on musical develop- we were fortunate to have the support of the Toronto, Kingston ment, as it provides students with an opportunity to perform a and Queen’s branches of Amnesty International; Alex Neve, program in wonderful venues in different locations, which Director General of Amnesty International Canada, traveled from results in higher levels of polish and excellence.
    [Show full text]
  • Diplomová Práce
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Diplomová práce Brno 2017 Andrej Farkaš JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Jazzové interpretace Hra na klavír Oscar Peterson „The Trio“ Diplomová práce Autor práce: Andrej Farkaš Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Jan Přibil Brno 2017 Bibliografický záznam FARKAŠ, Andrej. Oscar Peterson „The Trio“. Brno: Janáčkova akademie múzických umení v Brne, Hudobná fakulta, Katedra jazzové interpretace, 2017. 25 s. Vedoucí diplomovej práce odb.as. MgA. Jan Dalecký. Touto cestou vyslovujem poďakovanie pánovi MgA. Janovi Daleckému za pomoc, odborné vedenie, cenné rady a pripomienky pri vypracovaní mojej bakalárskej diplomovej práce. V Brne dňa 14.5.2017 Anotácia V tejto bakalárskej práci som sa zameral na osobitý štýl Oscara Petersona, jeho riešenie spôsobu fungovania a komunikácie sólového klavíra zo sólovú gitarou. Priblížiť sa k spôsobu, systému, ktorý Oscar Peterson využíval pri svojej hre s Joe Passom. Uviesť príklady, rámcovo sa priblížiť k vyriešeniu problému hrania dvoch harmonických nástrojov súčasne. Kľúčové slová: umelecké cesty, vedenie hlasov, sprievod, dva harmonické nástroje, súzvuk Annotation In this thesis I focused on the distinctive style of Oscar Peterson, his solutions are working and communication of solo piano and solo guitar. Getting closer to the ways of that Oscar Peterson used in their play with Joe Pass. Give an example closer to solving the problem of playing two harmonic Instruments at the same time. Key words: artistic tours, voice management, comping, two harmonic instruments, echoes OBSAH: 1. Úvod 2. Život Oscara Petersona 2.1 Norman Granz 3. Cesta k vzniku Oscar Peterson – „The Trio“ 3.1 „The Trio“ 4.
    [Show full text]
  • GGPAA Gala Program 2015 English
    NatioNal arts CeNtre, ottawa, May 30, 2015 The arts engage and inspire us A nation’s ovation. We didn’t invest a lifetime perfecting our craft. Or spend countless hours on the road between performances. But as a proud presenting sponsor of the Governor General’s Performing Arts Awards, we did put our energy into recognizing outstanding Canadian artists who enrich the fabric of our culture. When the energy you invest in life meets the energy we fuel it with, Arts Nation happens. ’ work a O r i Explore the laureates’’ work at iTunes.com/GGPAA The Governor General’s Performing Arts Awards The Governor General’s Performing Arts Recipients of the National arts Centre award , Awards are Canada’s most prestigious honour which recognizes work of an extraordinary in the performing arts. Created in 1992 by the nature in the previous performance year, are late Right Honourable Ramon John Hnatyshyn selected by a committee of senior programmer s (1934–2002), then Governor General of from the National Arts Centre (NAC). This Canada, and his wife Gerda, the Awards are Award comprises a commemorative medallion, the ultimate recognition from Canadians for a $25,000 cash prize provided by the NAC, and Canadians whose accomplishments have a commissioned work created by Canadian inspired and enriched the cultural life of ceramic artist Paula Murray. our country. All commemorative medallions are generously Laureates of the lifetime artistic achievement donated by the Royal Canadian Mint . award are selected from the fields of classical The Awards also feature a unique Mentorship music, dance, film, popular music, radio and Program designed to benefit a talented mid- television broadcasting, and theatre.
    [Show full text]