Auditions for 2019-2020 All-City High School Music Program All Ensembles
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Thursday, September 29, 2016, 8pm Paramount Theatre, Oakland Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis, music director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet Walter Blanding, tenor and soprano saxophones, clarinet Paul Nedzela, baritone and soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Ali Jackson, drums Tonight’s program will be announced from the stage and performed without an intermission. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. For more information, please visit jazz.org. Facebook: facebook.com/jazzatlincolncenter Twitter: twitter.com/jazzdotorg YouTube: youtube.com/jazzatlincolncenter Cal Performances' presentations in Oakland are generously underwritten by Signature Development Group. Jazz residency and education activities are generously underwritten by the Thatcher Meyerson Family. ABOUT THE ARTISTS he mission of Jazz at Lincoln Center is country, woven with the colorful stories of the to entertain, enrich, and expand a global artists behind them. Jazz Night in America and Tcommunity for jazz through perform- Jazz at Lincoln Center’s radio archive can be ance, education, and advocacy. With the found at jazz.org/radio. world-renowned Jazz at Lincoln Center Orch - Under music director Wynton Marsalis, the estra and guest artists spanning genres and JLCO spends over a third of the year on tour. generations, Jazz at Lincoln Center produces The big band performs a vast repertoire, from thousands of performance, education, and rare historic compositions to Jazz at Lincoln broadcast events each season in its home in Center-commissioned works, including com- New York City (Frederick P. -
Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads. -
Murdoch's Global Plan For
CNYB 05-07-07 A 1 5/4/2007 7:00 PM Page 1 TOP STORIES Portrait of NYC’s boom time Wall Street upstart —Greg David cashes in on boom on the red hot economy in options trading Page 13 PAGE 2 ® New Yorkers are stepping to the beat of Dancing With the Stars VOL. XXIII, NO. 19 WWW.NEWYORKBUSINESS.COM MAY 7-13, 2007 PRICE: $3.00 PAGE 3 Times Sq. details its growth, worries Murdoch’s about the future PAGE 3 global plan Under pressure, law firms offer corporate clients for WSJ contingency fees PAGE 9 421-a property tax Times, CNBC and fight heads to others could lose Albany; unpacking out to combined mayor’s 2030 plan Fox, Dow Jones THE INSIDER, PAGE 14 BY MATTHEW FLAMM BUSINESS LIVES last week, Rupert Murdoch, in a ap images familiar role as insurrectionist, up- RUPERT MURDOCH might bring in a JOINING THE PARTY set the already turbulent media compatible editor for The Wall Street Journal. landscape with his $5 billion offer for Dow Jones & Co. But associ- NEIL RUBLER of Vantage Properties ates and observers of the News media platform—including the has acquired several Corp. chairman say that last week planned Fox Business cable chan- thousand affordable was nothing compared with what’s nel—and take market share away housing units in the in store if he acquires the property. from rivals like CNBC, Reuters past 16 months. Campaign staffers They foresee a reinvigorated and the Financial Times. trade normal lives for a Dow Jones brand that will combine Furthermore, The Wall Street with News Corp.’s global assets to Journal would vie with The New chance at the White NEW POWER BROKERS House PAGE 39 create the foremost financial news York Times to shape the national and information provider. -
Fact Sheet 2009
Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year . -
General Info.Indd
General Information • Landmarks Beyond the obvious crowd-pleasers, New York City landmarks Guggenheim (Map 17) is one of New York’s most unique are super-subjective. One person’s favorite cobblestoned and distinctive buildings (apparently there’s some art alley is some developer’s idea of prime real estate. Bits of old inside, too). The Cathedral of St. John the Divine (Map New York disappear to differing amounts of fanfare and 18) has a very medieval vibe and is the world’s largest make room for whatever it is we’ll be romanticizing in the unfinished cathedral—a much cooler destination than the future. Ain’t that the circle of life? The landmarks discussed eternally crowded St. Patrick’s Cathedral (Map 12). are highly idiosyncratic choices, and this list is by no means complete or even logical, but we’ve included an array of places, from world famous to little known, all worth visiting. Great Public Buildings Once upon a time, the city felt that public buildings should inspire civic pride through great architecture. Coolest Skyscrapers Head downtown to view City Hall (Map 3) (1812), Most visitors to New York go to the top of the Empire State Tweed Courthouse (Map 3) (1881), Jefferson Market Building (Map 9), but it’s far more familiar to New Yorkers Courthouse (Map 5) (1877—now a library), the Municipal from afar—as a directional guide, or as a tip-off to obscure Building (Map 3) (1914), and a host of other court- holidays (orange & white means it’s time to celebrate houses built in the early 20th century. -
Aye Que Rico! I Love It! I Gotta Play It! but How Do I Do It? Building a Salsa/Latin Jazz Ensemble
¡Aye que Rico! I Love It! I Gotta Play It! But How Do I Do It? Building a Salsa/Latin Jazz Ensemble By Kenyon Williams f you’ve got salsa in your sangre, you re- tion streaming video lessons on the Web, infor- member your first time—the screaming mation that was once only available to a lucky brass riffs, the electrifying piano montunos, few can now be found with ease (see list at end Ithe unbelievable energy that flowed into of article for suggested educational resources). the audience, and the timbalero, who seemed “You can’t lead any band in any style of to ride on top of it all with a smile as bright music unless you know that style of music!” as the stage lights. “The Latin Tinge,” as Jelly admonishes Latin percussion great Michael Roll Morton called it, has been a part of jazz Spiro. “People end up, in essence, failing be- ever since its inception, but it took the genius cause they don’t learn the style! The clave, bass, of such artists as Mario Bauza and Dizzy piano, and even horns, have to play a certain Gillespie in the early 1940s to truly wed way within the structure—just like the percus- the rhythms of the Caribbean with the jazz sion. If you don’t understand that, you will fail!” harmonies and instrumentation of American For an experienced jazz artist wanting to popular music styles. They created a hybrid learn or teach a new style of music for the first musical genre that would, in turn, give birth to time, this fear of failure can be crippling. -
Maria Rivas Maria Rivas
Maria Rivas Known as one of the most versatile voices in Latin America and now North America, Maria Rivas skillfully combines American and Latin Jazz rhythms with lively yet sentimental music from around the world. She interprets her music in English, Spanish, Italian and Portuguese, and performs her own blend of traditional standards as well as music and lyrics she has composed herself. Maria’s unique sound is an intoxicating combination of classic American jazz and Latin music, with just the right splash of Brazilian accents, together with her signature mixture of indigenous, Caribbean, European, and African strains. From slow and sensuous, to very lively with a strong beat, her audiences love alternately to dance to her music, or sit and listen while being both moved and energized. A significant number of her audience members have described her performances as “magical” -- their word. Her exotic and varied repertoire includes American jazz and blues standards such as ‘Funny Valentine’, ‘Route 66’, ‘Lush Life’, and ‘Summertime;’ Latin classics like ‘Bésame Mucho’ and ‘Moliendo Café;’ smooth and sensuous Brazilian bossa nova tunes like ‘Girl from Ipanema’, ‘Corcovado’, ‘Dindi’ and ‘One Note Samba’; movingly romantic ballads, such as ‘My Romance’ and ‘Our Love is Here to Stay,’ and many, many others. During her musical career spanning over 30 years, Maria has “I consider Maria Rivas to be one of released ten CDs while headlining concerts in Latin America, North America, Europe, and Asia. including the world- the finest singers on the world stage famous Montreux Jazz Festival in Switzerland. She entertains today, truly a tremendous talent. -
PICK of the WEEK Incredible Interpretation of the Classic “En Mi Viejo San Juan” to Well
. CASH BOX OCTOBERS, 1994 20 REVIEWS By Hector Resendez EDSEL JULIET W/ ORCHESTRA - ;s^ y.S. ^ Latin IDSEL JULIETf , SWTM ORCHSSt«A SAUUCO ^ SALJUCO: Salsa & Merengue (JCD 050) Producer: Edsel Juliet. I By Hector Resendez Edsel Juliet is from a prominent and musi- THE QUEEN OF SALSA, Celia t cal family in Curacao where he played there j Crtiz, was honored on Sunday, Sep- t as a samll boy. He came to Holland in his late I tember 25th, by the Student Assodation for the Appreciation of Latin teens about 1976. Juhet takes you from son Culture and the Arts at Cal Polytechnic University in Pomona, CA. Cruz montuno, to mambo, to a pambiche curacao, presented with an inaugural medal named in her honor. Actor Andy SALSA & was Y MAS* LOS and back. All of the selections are well exe- Garda was on hand to present Cruz with the gold medallion. cuted and performed. Of particular interest the Azucar featured comparsa The day-long festivities at Camaval will be the son montunos which may have even dancing by Los Bailerines del Club de Monterey Park accompanied by made the Cuban group, Los Papines, stand up and notice. The introduction by Long John Oliva and his congeros. There was an impressive lineup of local Dr. Salsa (Ira Goldwasser) is out of this world. There is over an hour of music Southern Californian talent. Of particular note was fellow Cubana Candi on the CD. Although based in Amsterdam, Juhet wdl have no problem in Sosa’s beautiful musical medley of Cruz’ most popular .hits. -
October 2020 New York City Center
NEW YORK CITY CENTER OCTOBER 2020 NEW YORK CITY CENTER SUPPORT CITY CENTER AND Page 9 DOUBLE YOUR IMPACT! OCTOBER 2020 3 Program Thanks to City Center Board Co-Chair Richard Witten and 9 City Center Turns the Lights Back On for the his wife and Board member Lisa, every contribution you 2020 Fall for Dance Festival by Reanne Rodrigues make to City Center from now until November 1 will be 30 Upcoming Events matched up to $100,000. Be a part of City Center’s historic moment as we turn the lights back on to bring you the first digitalFall for Dance Festival. Please consider making a donation today to help us expand opportunities for artists and get them back on stage where they belong. $200,000 hangs in the balance—give today to double your impact and ensure that City Center can continue to serve our artists and our beloved community for years to come. Page 9 Page 9 Page 30 donate now: text: become a member: Cover: Ballet Hispánico’s Shelby Colona; photo by Rachel Neville Photography NYCityCenter.org/ FallForDance NYCityCenter.org/ JOIN US ONLINE Donate to 443-21 Membership @NYCITYCENTER Ballet Hispánico performs 18+1 Excerpts; photo by Christopher Duggan Photography #FallForDance @NYCITYCENTER 2 ARLENE SHULER PRESIDENT & CEO NEW YORK STANFORD MAKISHI VP, PROGRAMMING CITY CENTER 2020 Wednesday, October 21, 2020 PROGRAM 1 BALLET HISPÁNICO Eduardo Vilaro, Artistic Director & CEO Ashley Bouder, Tiler Peck, and Brittany Pollack Ballet Hispánico 18+1 Excerpts Calvin Royal III New York Premiere Dormeshia Jamar Roberts Choreography by GUSTAVO RAMÍREZ -
Music and Spiritual Feminism: Religious Concepts and Aesthetics
Music and spiritual feminism: Religious concepts and aesthe� cs in recent musical proposals by women ar� sts. MERCEDES LISKA PhD in Social Sciences at University of Buenos Aires. Researcher at CONICET (National Council of Scientifi c and Technical Research). Also works at Gino Germani´s Institute (UBA) and teaches at the Communication Sciences Volume 38 Graduation Program at UBA, and at the Manuel de Falla Conservatory as well. issue 1 / 2019 Email: [email protected] ORCID: https://orcid.org/0000-0001-9692-6446 Contracampo e-ISSN 2238-2577 Niterói (RJ), 38 (1) abr/2019-jul/2019 Contracampo – Brazilian Journal of Communication is a quarterly publication of the Graduate Programme in Communication Studies (PPGCOM) at Fluminense Federal University (UFF). It aims to contribute to critical refl ection within the fi eld of Media Studies, being a space for dissemination of research and scientifi c thought. TO REFERENCE THIS ARTICLE, PLEASE USE THE FOLLOWING CITATION: Liska, M. (2019). Music and spiritual feminism. Religious concepts and aesthetics in recent musical proposals by women artists. Contracampo – Brazilian Journal of Communication, 38 (1). Submitted on: 03/11/2019 / Accepted on: 04/23/2019 DOI – http://dx.doi.org/10.22409/contracampo.v38i1.28214 Abstract The spiritual feminism appears in the proposal of diverse women artists of Latin American popular music created recently. References linked to personal and social growth and well-being, to energy balance and the ancestral feminine powers, that are manifested in the poetic and thematic language of songs, in the visual, audiovisual and performative composition of the recitals. A set of multi religious representations present in diff erent musical aesthetics contribute to visualize female powers silenced by the patriarchal system. -
Debate Overnight Radio Play for Sale to Labels
$6.99 (U.S.), S8.99 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) w Hot.' á 3 -DIGIT 908 z ILI..i6..J..IiIII...L..LoIEIO I IIL.I[I BL240f04 APR06 A04 B0105 ¡aient MONTY GREENLY 3740 ELM AVE # A LONG EEACH CA 93807 -3402 J31i1 Begins On Page 15 www.billboard.com THE INTERN TIONAL AUTHORITY ON MUSIC, VIDE AND DIGITAL ENTERTAINMENT 110TH YEAR JUNE 19, 2004 HOT SPOTS Spin Buys Spark New Debate Overnight Radio Play For Sale To Labels Latin S BY BRIAN GARRITY 11 Bank On Lt ar Anthony 50 Cent protégé Lloyd Banks Offers ans His First Controversy surrounding burns up the charts with "On overnight airplay at radio is Fire, "the lead single from his Spanis Pop Album nothing new for the G- Unit /Interscope solo set. recording industry. But the BY LEILA COB' current flap over tracks played late at night in label -sponsored fí It is tim of c-ìange for Marc "spin programs" presents a new Anthony. twist on past grievances. Just a few years ago, labels were Last year h: changed management complaining bitterly that radio by signing wi Tommy Mottola after programmers were relegating l6 a longstandi g association with new singles to the overnight Bigram Zayas Anthony's brother. hours. Now many labels are Last -nont , he changed his tour shelling out thousands of dollars dates. Origin Hy slated to kick off in per week to have songs played between midnight and 6 a.m. June, the o ing has been resched- 32 Waylon Gains As first tipped on billboard.biz uled for Nov: mbeG Waylon Payne promotes his and in Billboard sister publica- Last week, e reportedly married Jen- tion Airplay Monitor's June 11 upcoming album, "The Drifter," nifer Lopez. -
New York City Center Announces Re‐Opening for In‐Person Performances with Full Calendar of Programs for 2021 – 2022 Season
FOR IMMEDIATE RELEASE: New York City Center announces re‐opening for in‐person performances with full calendar of programs for 2021 – 2022 season Dance programming highlights include Fall for Dance Festival, TWYLA NOW, and the launch of two new annual dance series Additional artistic team members for Encores! 2022 season include choreographers Camille A. Brown for The Life and Jamal Sims for Into the Woods Tickets start at $35 or less and go on sale for most performances Sep 8 for members; Sep 21 for general public July 13, 2021 (New York, NY) – New York City Center President & CEO Arlene Shuler today announced a full calendar of programming for the 2021 – 2022 season, reopening the landmark theater to the public in October 2021. This momentous return to in‐person live performances includes the popular dance and musical theater series audiences have loved throughout the years and new programs featuring iconic artists of today. Manhattan’s first performing arts center, New York City Center has presented the best in music, theater, and dance to generations of New Yorkers for over seventy‐five years. “I am delighted to announce a robust schedule of performances for our 2021 – 2022 season and once again welcome audiences to our historic theater on 55th Street,” said Arlene Shuler, President & CEO. “We have all been through so much in the past sixteen months, but with the support of the entire City Center community of artists, staff, and supporters, we have upheld our legacy of resilience and innovation, and we continue to be here for our loyal audience and the city for which we are proudly named.