DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Summer, 1994

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Summer, 1994 Sinatra in Concert Wednesday, August 31, at 7:30 p.m. FRANK SINATRA with TOM DREESEN Koussevitzky Music Shed Jazz At Tanglewood m .•*'- Thursday, September 1, at 7:30 p.m. THE MANHATTAN TRANSFER ABBEY LINCOLN and her Trio Koussevitzky Music Shed Friday, September 2, at 7:30 p.m. AHMAD JAMAL and his Trio with guests JOSHUA REDMAN QUARTET Seiji Ozawa Hall Saturday, September 3, at 1:30 p.m. MARCUS ROBERTS Seiji Ozawa Hall at 7:30 p.m. DAVE BRUBECK QUARTET with special guest CASSANDRA WILSON Seiji Ozawa Hall Sunday, September 4, at 1:30 p.m. THE NEW BLACK EAGLE JAZZ BAND Seiji Ozawa Hall at 7:30 p.m. CARNEGIE HALL JAZZ BAND JON FADDIS, director Seiji Ozawa Hall ARTISTS Frank Sinatra industry. Some of Mr. Sinatra's most famous recordings date from these years, marked A performer for by arrangements by Nelson Riddle and more than five Gordon Jenkins. Among the many Capitol decades, Frank classics are "I've Got the World on a String," Sinatra is a "I Get a Kick Out of You," "In the Wee singer, actor, Small Hours of the Morning," "The Lady recording artist, Is a Tramp," "Witchcraft," and "Young at cabaret and Heart." During the 1960s Mr. Sinatra estab- concert star, lished his own recording company, Reprise radio and tele- Records, and released a number of hit vision personal- albums. He also starred in several award- ity, and, on winning one-man television specials. The occasion, producer, director, and conduc- decade of the 1970s was highlighted by new tor. Among his many accolades are Oscars, albums, film roles, U.S. and international Grammys, Emmys, and the prestigious tours, a record-breaking Broadway engage- Peabody Award as well as numerous honors ment with Count Basie and Ella Fitzgerald, and awards in recognition of his many television movies, and music specials. The charitable endeavors. On December 11, 1980s were a time of U.S. and international 1990, the eve of his 75th birthday, Mr. travel with acclaimed concert tours, tele- Sinatra embarked on a memorable year- vision appearances, and the release of long Diamond Jubilee Tour. With his first additional albums. He was one of five recordings, made in 1939, and his sub- honorees at the 1983 Kennedy Center sequent debut as a band singer, Frank Honors, and in 1986 MGM/UA released Sinatra changed the face of American "Portrait of an Album," a videocassette popular music. He performed as a band documenting the making of his album vocalist with Harry James, later joining L.A. Is My Ijady. Mr. Sinatra's recording of Tommy Dorsey and recording with that "New York, New York" has become New band's vocal group, the Pied Pipers. Striking York City's anthem, and his performance of out on his own, Mr. Sinatra made memora- the song is met with cheers and standing ble appearances on radio's Your Hit Parade ovations throughout the world. Despite his and his own show, Songs by Sinatra. His hectic schedule, Frank Sinatra has consis- 1942 appearance with Benny Goodman at tently lent his talents to humanitarian New York's Paramount Theatre was a turn- causes, for such organizations as the Red ing point in his career, marking the begin- Cross, Variety Clubs International, the New ning of a long love affair between the singer York PAL, Cabrini Medical Center, the and his fans. Since his 1943 movie debut, World Mercy Fund, and the National Mul- Mr. Sinatra has appeared in more than fifty tiple Sclerosis Society. The annual Sinatra films, among them Anchors Aweigh, On the Celebrity Invitational golf tournament Town, The Man With the Golden Arm, PalJoey, benefits the Barbara Sinatra Children's The Manchurian Candidate, and From Here to Center at Eisenhower Medical Center in Eternity. In 1953 he joined Capitol Records Palm Springs and Palm Springs' Desert and began a seven-year association that was Hospital. one of the most successful in the recording Tom Dreesen The Manhattan Transfer Tom Dreesen has been Frank Sinatra's opening act for the past ten years, in club and concert appearances across the United States and Canada. A self- described "saloon comedian," Mr. Dreesen has never forgot- A vocal group that has never limited itself ten his hometown of Harvey, Illinois, in the to one type of music, the Manhattan Trans- multi-racial south side of Chicago. One of fer was formed by Tim Hauser in 1972; the eight children from a poor family, Mr. Dree- other original members also included - * sen draws upon his childhood memories of Laurel Masse, Janis Siegel, and Alan Paul. 9on0 attending Catholic school in Harvey and During those first years, the quartet de- his early struggles in show business for veloped a cult following while playing in much of his humor. In addition to his many New York clubs, cut their first album, had appearances with Mr. Sinatra, Tom Dreesen their own television show on CBS, and has appeared with such artists as Smokey toured every continent. In 1978 Ms. Masse, ; " Hi Robinson, Liza Minnelli, Natalie Cole, and recovering from an injury in a car accident, Sammy Davis, Jr. Mr. Dreesen has made decided to leave the group to pursue a solo more than 500 guest appearances on talk career. As the group embarked on its fourth shows, including more than fifty on the studio album, Extensions, she was replaced Tonight Show before Johnny Carson's depar- by Cheryl Bentyne. Extensions contained ture. He has also had dramatic guest star- the Manhattan Transfer's first pop chart JhHi ring roles on many shows, including WKRP hit, "Twilight Zone/Twilight Tone," and the in Cincinnati, Murder She Wrote, Gabriels Fire, piece that has since become the group's and Columbo. One result of his early days in signature song, "Birdland." In addition to '.'.'£ racially mixed Harvey is his comedy album becoming the most played jazz record of entitled "That White Boy's Crazy," which 1980, "Birdland" brought the Manhattan was performed and recorded before an Transfer its first Grammy award and Janis all-black audience. He has also had his own Siegel a Grammy for her arrangement of comedy special, Dreesen Street, and hosted a the Joe Zawinul/Jon Hendricks work. The late-night show from Chicago entitled following year the Manhattan Transfer Night Time Starring Tom Dreesen. With actor made music history by becoming the first Tim Reid he formed the comedy team of group to win Grammys in both the pop and Tim and Tom, which enjoyed some success jazz categories in the same year, for "Boy in the early 1970s, before Mr. Reid went to from New York City" and "Until I Met You Hollywood and the television series WKRP (Corner Pocket)," respectively. Both award- in Cincinnati. Tom Dreesen always finds winning songs appeared on the group's time in his busy schedule for charity work fifth album, Meccafor Moderns. In 1982 they and is seen regularly on the celebrity golf accepted the Grammy for best jazz vocal circuit. He is the force behind Chicago's performance, duo or group, for their rendi- annual "Day for Darlene Weekend," which tion of "Route 66"; the following year they raises funds for multiple sclerosis research. won in the same category for "Why Not." The event is named for his sister Darlene, The group's 1985 release, Vocalese, became who died of the disease. The father of three known as its tour deforce effort, earning grown children, Tom Dreesen resides in the twelve Grammy nominations and two San Fernando Valley of Los Angeles. Grammy awards. The 1987 recording Brasil, which pioneered the use of contemporary Brazilian music, was the quartet's first entire album to win a Grammy for best pop performance by a duo or group with vocal. In 1991 the Manhattan Transfer moved to Columbia Records for a two-album stint. The first, The Off-Beat ofAvenues, was pro- duced by Tim Hauser and marked the first . time the majority of songs were either singing career in earnest, recording Painted written or co-written by Transfer members. Lady (Blue Marge) with Archie Shepp, The "Sassy," with lyrics by Janis Siegel and Maestro (Muse) with the Cedar Walton Cheryl Bentyne and music by Ms. Siegel Quartet, Talking to the Sun (Enja) with Steve and Bill Bodine, won a Grammy for best Coleman, and Abbey Sings Billie (Enja), her contemporary jazz performance. This was tribute to the great Billie Holiday. In 1990 followed by The Christmas Album, co-pro- Ms. Lincoln released her first Verve album, duced by Tim Hauser and Johnny Mandel. The World Is Falling Down, followed in 1991 In 1993 the quartet performed for Presi- by You Gotta Pay the Band. A PBS documen- dent and Mrs. Clinton at the Inaugural tary of the same title, chronicling Abbey Ball. The current year brings a return to Lincoln's life, was telecast in February 1993. their original label, Atlantic Records, for their sixteenth album and performances on tour in America and Europe. Ahmad Jamal Pianist, com- Abbey Lincoln poser, and ar- ranger Ahmad Abbey Lincoln's Jamal is credited third album for with influencing Verve, Devils generations of Got Your Tongue, musicians, in- follows upon the cluding Miles success of her Davis, Gil Evans, widely acclaimed Benny Golson, recording You and Shirley Gotta Pay the Horn, among many others. Mr. Jamal Band. The songs began playing the piano at age three, joined on Devils Got the union at fourteen (by claiming he was Your Tongue pay homage to Ms. Lincoln's sixteen), and went on his first national tour parents and affirm her own independence.
Load more

Recommended publications
  • Booker Little
    1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Jazz Music and Social Protest
    Vol. 5(1), pp. 1-5, March, 2015 DOI: 10.5897/JMD2014.0030 Article Number: 5AEAC5251488 ISSN 2360-8579 Journal of Music and Dance Copyright © 2015 Author(s) retain the copyright of this article http://www.academicjournals.org/JMD Full Length Research Paper Playing out loud: Jazz music and social protest Ricardo Nuno Futre Pinheiro Universidade Lusíada de Lisboa, Portugal. Received 4 September, 2014; Accepted 9 March, 2015 This article addresses the historical relationship between jazz music and political commentary. Departing from the analysis of historical recordings and bibliography, this work will examine the circumstances in which jazz musicians assumed attitudes of political and social protest through music. These attitudes resulted in the establishment of a close bond between some jazz musicians and the Civil Rights Movement in the 1950s and 1960s; the conceptual framing of the free jazz movement that emerged in the late 1950s and early 60s; the use on non-western musical influences by musicians such as John Coltrane; the rejection of the “entertainer” stereotype in the bebop era in the 1940s; and the ideas behind representing through music the African-American experience in the period of the Harlem Renaissance, in the 1920’s. Key words: Politics, jazz, protest, freedom, activism. INTRODUCTION Music incorporates multiple meanings 1 shaped by the supremacy that prevailed in the United States and the principles that regulate musical concepts, processes and colonial world3. products. Over the years, jazz music has carried numerous “messages” containing many attitudes and principles, playing a crucial role as an instrument of Civil rights and political messages dissemination of political viewpoints.
    [Show full text]
  • Roger Davidson Tierney Sutton Regina Carter Junior Mance
    168556_HH_April_REV_0 3/24/16 2:02 PM Page 1 The only jazz magazine in NY in print, online and on apps! April 2016 www.hothousejazz.com Saint Peter's Church Page 10 Brooklyn Center Page 17 Junior Mance Regina Carter Tierney Sutton Roger Davidson Dizzy's Club Coca-Cola Page 21 Caffé Vivaldi Page 10 Where To Go & Who To See Since 1982 168556_HH_April_REV_0 3/24/16 2:03 PM Page 2 2 168556_HH_April_REV_0 3/24/16 2:03 PM Page 3 3 168556_HH_April_REV_0 3/24/16 2:03 PM Page 4 4 168556_HH_April_REV_0 3/24/16 2:03 PM Page 5 5 168556_HH_April_REV_0 3/24/16 2:03 PM Page 6 6 168556_HH_April_REV_0 3/24/16 2:03 PM Page 7 7 168556_HH_April_REV_0 3/24/16 2:03 PM Page 8 8 168556_HH_April_REV_0 3/24/16 2:03 PM Page 9 9 168556_HH_April_REV_0 3/24/16 2:03 PM Page 10 WINNING SPINS By George Kanzler WO PIANISTS WHO HAVE PLIED Crusaders hit "Hard Times" with a deep Ttheir trade in the Big Apple for many blues feel, including locked hand triplets years, Junior Mance and Roger Davidson, and soul jazz backing to Fuji's persuasive are the principals of the albums compris- solo. The violinist carries the swing of ing this Winning Spins. Mance is a long- "9:20 Special," with Mance joining in at the time veteran of the jazz scene, and one of climax for scintillating four-bar exchanges the few musicians still with us who per- to take it out. formed with Charlie Parker. Davidson is Live at Caffé Vivaldi, Volume 3, Roger an eclectic player with roots in classical Davidson (Soundbrush), is a collection of and Brazilian music as well as jazz.
    [Show full text]
  • JUBILEE EDITION to His Artistic Choice
    WINTE R&WINTER JthUe fBirsIt L30EyE earsE1D98I5 T–I2O01N 5 SOUND JOURNEYS 30 Years of Music Recordings by Stefan Winter It is a kind of stage anniversary behind the scenes: 30 years ago Stefan Winter founds the JMT (Jazz Music Today) label and records the debut production of the young saxo - STEFAN WINTER AND MARIKO TAKAHASHI phonist Steve Coleman . The starting point is the new Afro-American conception M-Base . The protagonists of this movement are Cassandra Wilson (vocals), Geri Allen (piano), Robin Eubanks (trombone), Greg Osby and Gary Thomas (sax ophones). In antithesis to this artistic movement Winter do cu ments the development of the young jazz avant- garde and produces path-breaking recordings with Tim Berne (saxophone), Hank Roberts (cello), Django Bates (piano), Joey Baron (drums), Marc Ducret (guitar) and the ensemble Miniature . After 1995 his working method changes fundamentally from a documentarist to a sound director. This is the actual beginning of WINTER&WINTER. Together with Mariko Takahashi he dares to implement a new label concept. At the end of the 80s, Stefan Winter and Mariko Takahashi meet in Japan. Under the direction of Mariko Takahashi the festival »Taboo-Lu« is initiated in Ginza in Tokyo (Japan), a notable presentation with live concerts, an art exhibition and recordings. With »Taboo-Lu« the idea of and for WINTER&WINTER is quasi anticipated: Border crossing becomes a programme. Art and music cooperate together, contemporary meets tradition, composition improvisation. Mariko Takahashi and Stefan Winter want to open the way with unconventional recordings and works for fantastic and new experiences. Stefan Winter has the vision to produce classical masterpieces in radical new interpretations.
    [Show full text]
  • Cassandra Wilson Sign of the Judgment Теðºñ Ñ
    Cassandra Wilson Sign Of The Judgment Текѕт Francis planed her closure straightforwardly, she tabularizes it infirmly. Panniered and unrepelled Sayres never fluidized his sadhu! Obadiah usually stash purgatively or misbehaving dispersedly when winglike Dwain suborns nominally and rousingly. The law and despair and ymbols in Now you can sing like Chris Stapleton, the words, NY: Cornell University Press. The folios have been clipped. Christianity in other ways. You are commenting using your Facebook account. How could she come up with that? Album: A Whaling City Sampler. Ovid in fact appears to oppose touch and sight at one point, to yearn or long for. Boethiuss version of the myth. CCCwas once read as separate quires. Colophons in Early English Manuscripts. Chaucer and the Making of Optical Space. Southern Gothic part of the lyric. Franciscan friarsuch as John of Grimestone, and Mitchell did like him. In Chaucer, Leonard Cohen and John Lennon. Hurry, or bring disaster down upon the lyricist. RThe Western Manuscripts in the Library of Trinity College, therealsoarises a problemthe problem alluded to in my ccount of the Book of the Duchessow can humans begin to experience cosmic music, but in different size shoe. The whole album is splendid. Why do you have to play the root of the chord? Love, the one who desires me with greater constancy may come to my arms, and this is why human souls cannot avoid hearing and being affected by worldly contemporary music. The dreamer first hears the birds when he wakes from sleep within his dream: they are gathered onthe roof and sing in chorus.
    [Show full text]
  • Glenn Siegel, Ken Irwin, (413) 545-2876
    Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2010 MAGIC TRIANGLE JAZZ SERIES PRESENTS: STEVE COLEMAN & FIVE ELEMENTS The Magic Triangle Jazz Series, produced by WMUA-91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 22nd season on Thursday, April 26, at Bezanson Recital Hall, at 8:00pm with a performance by Steve Coleman & Five Elements. The group features Coleman on alto saxophone with Jonathan Finlayson (trumpet), Tim Albright (trombone), Jen Shyu (vocals), Thomas Morgan (bass) and Tyshawn Sorey (drums). A mentor and something of a pied piper, Coleman is a hugely influential figure who has aided the careers of peers like Geri Allen, Greg Osby and Cassandra Wilson, as well as nurturing the development of such important younger musicians as Vijay Iyer, Steve Lehman and Rudresh Mahanthappa. Over the past two decades, he's turned his band Five Elements into an improviser's academy, attracting a steady flow of exceptional young musicians. “To me, Steve Coleman is as important as John Coltrane,” says pianist Vijay Iyer, “he has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists.” Born in Chicago in 1956, Coleman moved to New York City in 1978 and has been identified with the City ever since. Initially influenced by saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Von Freeman and Bunky Green, Coleman has performed and recorded with Thad Jones, Sam Rivers, drummer Doug Hammond, Cecil Taylor, Abbey Lincoln and Dave Holland. One of the founders of the so-called M-Base movement, Coleman has led several groups and has 25 recordings under his name.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams 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 Assistant Theresa Hill 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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Spring Concert”
    “Spring Concert” 1. Cambrian Explosion Richard L. Saucedo 2. Bridges over the River Cam Derek Bourgeois 3. Time Remembered Philip Sparke 4. Dances with Wolves Arr. Jay Bocook 5. Opening Night on Broadway Arr. Michael Brown ** INTERVAL ** 6. The Jaguar Goff Richards 7. Thames Journey Nigel Hess 8. Awakening Hills Richard L. Saucedo 9. Sinatra in Concert Arr. Jerry Nowak 10. Viva Musica! Alfred Reed If you have any comments on tonight’s concert or would like to join our mailing list, please complete a feedback form and deposit at the back of the Church. Please check our website for the date of our summer concert www.dacapoconcertband.org.uk or join our mailing list Programme Notes Dances with Wolves (1990) John Barry (1933-2011), Arr. Jay Bocook Dances with Wolves is a 1990 epic western film based on the book of the same Cambrian Explosion (2010) name. It tells the story of a Civil War-era United States Army lieutenant who Richard L. Saucedo travels to the American frontier to find a military post, and his dealings with a group of Sioux Indians. Developed by director/star Kevin Costner, the film won Before about 580 million years ago, most organisms were very basic, consisting of seven Academy Awards including Best Picture. It is credited as a leading individual cells occasionally organised into colonies. Over the following 70 or 80 influence for the revitalization of the Western genre of filmmaking in Hollywood. million years the rate of evolution accelerated and the diversity of life began to Much of the dialogue is in the Lakota language with English subtitles.
    [Show full text]
  • JON HENDRICKS NEA Jazz Master (1993)
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next.
    [Show full text]
  • Mo Renews from Eric Norberg Huber Goes International
    - - '1- MORENEWS FROM ERIC NORBERG HUBER GOES INTERNATIONAL "in its fiRst FOUR songs, GRaffiti BRidge covens moine musical wateRfRont than some bands do in an entiRe caReeR...a touR de foRce that Reclaims PRince's RORe statuRe as a pop Picasso .. Rolihg &tott Rttfltl BRidge i fúñked oui _; sennsucl and spizltuai. Bette, Tln"e PRÍncepFefe' comrr-ett_r . The NeW YORk rimes LOS Angelles Times PRoduced ARRohg oír posed Rfemed PRI FROM the album GRatfitl BRidge PRInce s a Re91SIêRed tRadefllaRk Gd PRM MUSIC coRpoRatlor iwo Nopn.a Baos rtecortds inc. ièIEI PIIUaIPS the GAVIN REPORT T\!ff GAY!ì] A GLANCE d.,.,,. MOST ADDED MOST ADDED MOST ADDED L.L. COOL J WILSON PHILLIPS TEVIN CAMPBELL "Illegal, Around" (Def Jam/Columbia) Round And Round (Paisley Park/Warner Bros.) Impulsive (SBK) POOR RIGHTEOUS TEACHERS TONY! TONI! TONE! JON BON JOVI "Holy Intellect" (Profile) It Never Rains (In Southern California) (Wing/PolyGram) Miracle (Mercury) ISIS "Rebel Soul, Face" DONNY OSMOND *AFTER 7 (4th & Broadway/Island) My Love Is A Fire (Capitol) My Only Woman (Virgin) *LEVERT Rope A Dope Style (Atlantic) RECORD TO WATCH RECORD TO WATCH NWA RETAIL Running" (Priority) BILLY JOEL TERRY STEELE "100 Miles And And So It Goes (Columbia) Prisoner Of Love (SBK) RADIO BLACK FLAMES CONCRETE BLONDE Dance With Me T00 SHORT Joey (IRS) (OBR/Columbia) "The Ghetto" (Jive/RCA) ®,r a . a- 'OUNTRY MOST ADDED MOST ADDED MOST ADDED BETTE MIDLER ALAN JACKSON LEO GANDELMAN From A Distance (Atlantic) Chasin' That Neon Rainbow (Arista) Solar (Verve Forecast/PolyGram) WILSON PHILLIPS
    [Show full text]
  • Criterions Article
    Tim Hauser, Tommy West & the Criterions By Charlie Horner and Pamela Horner Excepted in part from the forthcoming book, Springwood Avenue Harmony: The Unique Musical Legacy of Asbury Park’s West Side, Volume 2, 1946 - 1980 Long before Tim Hauser formed the internationally known group, Manhattan Transfer, and Tommy Picardo took the stage name Tommy West (of the renowned songwriting, performing and recording combination Cashman, Pistilli and West), the two were part of an endearing Jersey Shore doo wop group, the Criterions. Timothy DuPron Hauser was born December 12, 1941 in Troy, New York. He moved with his parents and sister Fayette to the Jersey Shore area when he was 7 years old. Living in Wanamassa, Ocean Township, about 2 miles northwest of Asbury Park, Tim attended St. Rose High School in Belmar. In high school he sang in the glee club and played left field for the school’s varsity baseball team. Early on, Tim Hauser developed an interest in black music, specifically rhythm & blues. “He would go into Asbury Park because they had the better record stores there,” Tim’s sister Fayette told Asbury Park Press columnist Chris Jordan. “He’d bring the song, the anxious crowds surged forward to see the records home and my parents had a big console group. Feeling crushed, the fans in the front pushed record player and it had big speakers. The first back and fights broke out. At that point, the concert record he brought home was ‘Bo Diddley sings Bo was stopped and order was restored. As the Teenag- Diddley.’ He put it on the record player and played ers started their second song, more fights broke out it over and over for days.
    [Show full text]