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Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate Pete Fenech 630-941-2030 [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, 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, -
Patricia Zarate Perez Other Bios Performance
Patricia Zarate Perez Other Bios Performance: Patricia started playing the guitar and singing Chilean songs at age 10 in Santiago and Santa Cruz, Chile. She picked up the saxophone at age 13 and studied in Chile with renowned Chilean saxophone players. She moved to the US at age 20 and became the first female Chilean student to graduate from Berklee College of Music. Later, she pursued her master's degree in Jazz Studies at New York University with a full scholarship. Her saxophone teachers in the USA included Jerry Bergonzi, Jackie McLean, George Garzone, among others. Zarate has performed in North, Central, and South America with various bands in diverse settings. She has performed at Lincoln Center, Chicago's Jazz Showcase, Detroit Jazz Festival, Conservatory of Paris, Havana Jazz Festival, among many other sites, and in countries like Korea, Puerto Rico, Panama, Chile, USA, Gabon, Cameroon, Spain, among others. She regularly participates in her husband's (Panamanian pianist Danilo Perez) educational and diplomatic projects, and her life has been immensely influenced by the musical and non- musical lessons of saxophonist Wayne Shorter. Music Therapy: Zarate Perez graduated with the first generation of students from the music therapy department at Berklee College of Music in 1999, where she met her mentor Colin Lee. She worked as a music therapy intern at the Psychiatric Unit of the New Hampshire State Hospital, where she provided music therapy services to acute psychiatric patients. She later worked at the Boston Institute For Arts Therapies and Arts in Progress where she worked with children with behavioral difficulties, autism, and Down Syndrome. -
Am Ir El S Affar
Two RiversTwo Ensemble AMIR E Visiting Artist Series presents L SAFFAR’S ARTIST PARTNER PROGRAM March 3, 2017 . 7&9PM KOGOD THEATRE at The Clarice VISITINGVAS ARTIST SERIES Visiting Artist Series presents AMIR ELSAFFAR’S Two Rivers Ensemble Amir ElSaffar,trumpet/santur Francois Moutin, bass Nasheet Waits, drums Ole Mathisen, tenor saxophone/soprano saxophone Tareq Abboushi, buzuq Zafer Tawil, percussion/oud This performance will last approximately 1 hour 10 minutes without intermission. The Two Rivers Ensemble is a sextet of jazz and Middle Eastern musicians that has made innovative strides in using the maqam modal system to transform the jazz idiom. Deeply rooted in musical forms of Iraq and the Middle East, the music still speaks the language of swing, improvisation, and group interaction, resulting in a sound that is distinct from other contemporary cross-cultural musical fusions. After more than a decade of extensive performing and touring and the release of three critically- acclaimed albums, the Two Rivers Ensemble has developed an instinctive ease PROGRAM NOTES with ElSaffar’s innovative music, playing with a creativity in a style that is rooted in tradition, while venturing into an entirely novel aesthetic. Tonight’s program consists of Amir ElSaffar’s composition entitled Crisis was commissioned by Newport Jazz Festival in 2013 and called by Downbeat Magazine, “certainly the first Middle Eastern-imbued jazz combo at Newport to win a standing ovation for its first song.” The music was composed after Amir ElSaffar spent a year living in Egypt, where he witnessed the Arab Spring protests first-hand, and Lebanon, where he worked with Syrian musicians who were living through that country’s harrowing civil war. -
Western Invitational Jazz Festival 2013–14 Season Saturday 15 March 2014 484Th–486Th Concerts Dorothy U
34th Annual Western Invitational Jazz Festival 2013–14 Season Saturday 15 March 2014 484th–486th Concerts Dorothy U. Dalton Center BILLY DREWES, Saxophone, Guest Artist SCHEDULE OF EVENTS Big Bands Combos 8:00 Kalamazoo Central High School 8:20 Byron Center High School Jazz Lab 8:40 West Michigan Home School 8:40 Loy Norrix High School 9:00 Mishawaka High School 9:00 Black River – “Truth” 9:20 Reeths-Puffer High School 9:20 Byron Center I 9:40 Grandwille High School 9:40 West Michigan Home School 10:00 WMU Jazz Lab Band 10:00 Northview 10:30 Byron Center High School Jazz Band 10:30 Community 5 10:50 Black River High School 10:50 Community 4 11:10 Ripon High School 11:10 Grandville 11:30 Comstock Park High School 11:30 Northside 11:50 Mona Shores High School BREAK 12:40 Mona Shores 1:00 Stevenson High School 1:00 Byron Center II 1:20 Northside High School 1:20 Community 3 1:40 East Kentwood High School 1:40 Community 2 2:00 Lincholn Way High School 2:00 Waterford Kettering 2:20 Northview High School 2:20 Stevenson 2:40 Byron Center Jazz Orchestra 2:40 Community 1 3:15 WMU Advanced Jazz Combo (Rehearsal B) 4:00 Clinic with guest artist Billy Drewes and the Western Jazz Quartet (Recital Hall) 5:00 Announcement of Outstanding Band and Combo Awards and Individual Citations BREAK 7:30 Evening Concert featuring an Outstanding Band and Combo from the Festival and Billy Drewes with the WMU Jazz Orchestra If the fire alarm sounds, please exit the building immediately. -
Music Making Politics: Beyond Lyrics
Politik Nummer 1 | Årgang 23 | 2020 Music making politics: beyond lyrics M.I. Franklin, Professor of Global Media and Politics, Goldsmiths University of London In this article I argue that considering how any sort of music is made more closely - as sonic material, performance cultures, for whom and on whose terms, is integral to pro- jects exploring the music-politics nexus. The case in point is “My Way”, a seemingly apo- litical song, as it becomes repurposed: transformed through modes of performance, unu- sual musical arrangements, and performance contexts. The analysis reveals a deeper, underlying politics of music-making that still needs unpacking: the race, gender, and class dichotomies permeating macro- and micro-level explorations into the links between music, society, and politics. Incorporating a socio-musicological analytical framework that pays attention to how this song works musically, alongside how it can be reshaped through radical performance and production practices, shows how artists in diverging contexts can ‘re-music’ even the most hackneyed song into a form of political engage- ment. Introduction In 2016, Bob Dylan was awarded the Nobel Prize for Literature. In 2018 Kendrick Lamar became the first Rap artist to win the Pulitzer Prize for Music. Between these two medi- atized moments of public recognition, across the race and genre divides of contemporary culture lie many musico-political timelines, recording careers, playlists, and embodied musicalities. This article aims to show why, and how theory and research into the rela- tionship between (the study of) politics and music-making need to move beyond indica- tors of political relevance that are based on lyrics, an artist’s public persona, public profile or critical acclaim. -
Guest Artist Recital 2012–13 Season Thursday 1 November 2012 117Th Concert Dalton Center Lecture Hall 11:00 A.M
Guest Artist Recital 2012–13 Season Thursday 1 November 2012 117th Concert Dalton Center Lecture Hall 11:00 a.m. THE U.S. ARMY FIELD BAND SAXOPHONE QUARTET Staff Sergeant Daniel Goff, Soprano Saxophone Sergeant First Class Brian Sacawa, Alto Saxophone Sergeant First Class Chris Blossom, Tenor Saxophone Staff Sergeant David Parks, Baritone Saxophone Ludwig van Beethoven String Quartet Opus 18, Number 1 1770–1827 I. Allegro con brio arr. SFC Chris Blossom II. Adagio affettuso ed appassionato III. Allegro molto IV. Allegro Philip Glass Saxophone Quartet b. 1937 I. II. III. IV. Bobby Streng Beat Down b. 1980 If the fire alarm sounds, please exit the building im m ediately. A ll other em ergencies w ill be indicated by spoken announcem ent within the seating area. The tornado safe area in Dalton Center is along the lockers in the brick hallway to your left as you exit the Lecture Hall. In any emergency, walk—do not run—to the nearest exit. Please turn off all cell phones and other electronic devices during the performance. Because of legal issues, any video or audio recording of this performance is prohibited without prior consent from the School of Music. Thank you for your cooperation. THE U.S. ARMY FIELD BAND SAXOPHONE QUARTET is an official ensemble of the Musical Ambassadors of the Army. The quartet performs a wide range of repertoire including transcriptions, standard saxophone quartet literature, jazz and popular arrangements, and contemporary and avant-garde music. The ensemble seeks to present a program that displays the numerous stylistic and musical capabilities of the saxophone. -
Notre Dame Collegiate Jazz Festival Program, 2005
Archives of the University of Notre Dame Archives of the University of Notre Dame ro WEDNESDAY, FEB. 23, 2005 Preview Night. LaFortune Ballroom. FREE .-> 8:00 p.m. University of Notre Dame Jazz Band II and Jazz Combo -I-J (J) FRIDAY, FEB. 25, 2005 Evening concert block. Washington Hall. FREE for Students; Non-students $3 for 1 night, $5 for both nights OJ U 6:00 p.m. Oberlin College Small Jazz Ensemble N N 6:45 p.m. Western Michigan UniversityCombo ro 7:30 p.m. University of Illinois Concert Jazz Band --, 8: 15 p.m. Oberlin College Jazz Ensemble 9:00 p.m. Western Michigan UniversityJazz Orchestra OJ 9:45 p.m. Judges' Jam ro-I-J :Jro Frank Catalano (saxophone) c· Andre Hayward (trombone) cO) Lynne Arriale (piano) <{OJ Jay Anderson (bass) ...c:= Steve Davis (drums) ~O ~U SATURDAY, FEB. 26, 2005 Clinic. Notre Dame Band Building. FREE 2-3:00 p.m. Meet in main rehearsal room. Evening concert block. Washington Hall. Free for Students; Non-students $3 for 1 night, $5 for both nights 6:00 p. m. University of Notre Dame Jazz Band I 6:45 p.m. Middle Tennessee State UniversityJazz Ensemble I 7:30 p.m. Jacksonville State UniversityJazz Ensemble I 8: 15 p.m. Carnegie Mellon University 6:30 Jazz Ensemble 9:00 p.m. University of Notre Dame Brass Band 9:45 p.m. Collegiate Jazz Festival Alumni Combo Archives of the University of Notre Dame Festival Director: Greg Salzler OJ Assistant to the Director: WillSeath OJ ~ Festival Graphic Designer: Melissa Martin ~ Student Union Board Advisor: Erin Byrne , Faculty advisorto the festival: Larry Dwyer E SUB E-Board: Jimmy Flaherty E Patrick Vassel e Lauren Hallemann u - HeatherKimmins ro John McCarthy > Caitlin Burns .- ~ MarkHealy (J) OJ (J) 1 Jazz Festival Committee Special Thanks to: Ourguests L.L. -
TONY MALABY (B
TONY MALABY (b. 1964) PALOMA RECIO Tony Malaby, tenor saxophone; Ben Monder, electric guitar; Eivind Opsvik, bass; Nasheet Waits, drums 80688-2 1. Obambo 5:04 2. Lucedes 4:36 3. Alechinsky 10:06 4. Hidden 4:14 5. Boludos 2:51 6. Puppets 2:19 7. Sonoita 5:46 8. Loud Dove 12:07 9. Third Mystery 7:38 10. Musica Callada 3:07 TT: 57:58 These are strange times to be making music. Despite the recent change in political currents and a re- examination of national identity, the bottom-line question persists, “Is anything really going to be different?” In this context creative musicians go about the business of making a life and making music. The questions to be reckoned with rise to the surface as always, initiating valiant attempts to squeeze out some creative response to the inexorable truth; answers come with great difficulty and spawn new questions. It is a cycle of thought that deposits one in a temporarily liberating space with a license to go for it . one more time. Tony Malaby has been going for it on a regular basis since relocating to the New York area in 1995. Among the many projects that he has initiated, this quartet is of particular interest. My perspective on his music is unique: I have observed Tony’s compositional development over the past decade and had the chance to produce two of his recordings, including this one. Over that period of time we have had occasional discussions of formative processes and approaches to composition and improvisation. -
Norrbottensmusikens Programkatalog 2008 Norrbottensmusiken I Luleå | Kulturens Hus, Ingång Magasinsgatan 2 | Box 972, 971 29 Luleå | Tel 0920-23 66 66
Norrbottensmusikens programkatalog 2008 NORRBOTTENSMUSIKEN I LULEÅ | KULTURENS HUS, INGÅNG MAGASINSGATAN 2 | BOX 972, 971 29 LULEÅ | TEL 0920-23 66 66 GUNNEL KARBIN MIRKA SIWEK ÅSA LUNDGREN IRENE LARSSON PÄR SOINI Länsmusikchef Chef/producent: Norrbotten Big Chef Program/projekt Ekonom Chef Marknad och information 0920-23 66 60 Band 0920-23 66 73 0920-23 66 76 0920-23 66 64 070-573 08 81 0920-23 66 71 070-573 28 74 [email protected] 070-275 87 22 [email protected] 070-573 08 86 [email protected] [email protected] [email protected] RIGMOR FLODMARK EWA JOHANSEN MAts LUNDSTEDT TIM HAGANS RECEPTION/MARKNADS- Marknadsförare Ekonomi, personaladministration Ungdomsmusikkonsulent Konstnärlig ledare ASSISTENT Norrbotten Big Band 0920-23 66 68 0920-23 66 63 0920-23 66 69 0920 23 66 65 070-573 08 82 073-029 80 21 070-674 11 34 [email protected] [email protected] [email protected] [email protected] [email protected] NORRBOTTENSMUSIKEN I PITEÅ | ACUSTICUM 4, 941 28 PITEÅ | TEL 0920-23 66 66 KJELL ENGLUND SHAUNA ADAMS PEttER SUNDKVIST ANDERS EKLUND PIOTR SIWEK Musik- och operachef Producent Konstnärlig ledare Teknisk producent Kontrabas Norrbotten NEO, Norrbottens Norrbotten NEO, Norrbottens Norrbotten NEO, Norrbottens Tel 0920-23 66 92 0920-23 66 66 Kammarorkester, Piteå Kammar Kammarorkester, Piteå Kammar Kammarorkester, Piteå Kammar opera, Piteå Kyrkoopera opera, Piteå Kyrkoopera opera, Piteå Kyrkoopera [email protected] 070-573 08 78 Tel 0920-23 66 90 Tel 0920-23 66 91 [email protected] [email protected] -
The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty. -
2013 Brian Lynch Full Press Kit(Bio-Discog
GRAMMY© AWARD WINNING TRUMPETER Brian Lynch “You can lose yourself in the pure energy of his playing, but at any moment you can switch your attention to the logic and craftsmanship of his music and find multiple rewards.” NEIL TESSER, Jazziz “Lynch demonstrates that a dedicated, knowledgeable jazzman can play a diversity of styles with telling authenticity, and make the renditions extremely appealing to both musician and neophyte...Lynch is simply first- rate.” ZAN STEWART, Downbeat “When you’re as dynamic and flexible a trumpeter as Lynch, everyone wants you.” THE NEW YORKER “ … a knife-blade articulation on his horn… his command of rhythm, sharpened by a long apprenticeship with Mr. Palmieri, lent impressive authority to his playing…” NATE CHINEN, The New York Times “Ranks in the top ten of current trumpeters.” SCOTT YANOW, Cadence Magazine “Brilliant… two steps ahead of the ordinary ear.” REUTERS NEWS TRUMPETER COMPOSER ARRANGER EDUCATOR BANDLEADER: Spheres Of Influence Unsung Heroes Project The Brian Lynch Quartet Brian Lynch "This is a new millennium, and a lot of music has gone down," Brian Lynch said several years ago. "I think that to be a jazz musician now means drawing on a wider variety of things than 30 or 40 years ago. Not to play a little bit of this or a little bit of that, but to blend everything together into something that has integrity and sounds good. Not to sound like a pastiche or shifting styles; but like someone with a lot of range and understanding." Trumpeter and Grammy© Award Winner Brian Lynch brings to his music an unparalleled depth and breadth of experience. -
Liebman Expansions
MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.