Juilliard Jazz Artist Diploma Ensemble
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Wynton Marsalis Happy Birthday Transcription Pdf Free
Wynton Marsalis Happy Birthday Transcription Pdf Free 1 / 4 Wynton Marsalis Happy Birthday Transcription Pdf Free 2 / 4 3 / 4 Print and download Caravan sheet music by Wynton Marsalis arranged for Trumpet or Piano. Instrument/Piano/Chords, and Transcribed Solo in Bb Major. Your high-resolution PDF file will be ready to download in the original published key . Song Spotlight Signature Artists Sales and Promotions Free Sheet Music.. Sep 6, 2018 . Marsalis at the Oskar Schindler Performing Arts Center Seventh Annual Jazz Festival in 2009. Background information. Birth name, Wynton.. essential and the necessary references are in general noted in the pdf. to present this unique collection of transcriptions which he has compiled over a span of . Several years before Wynton Marsalis gained headlines for helping to revive . Baker took the Armstrong role, comfortably confounding the date on his birth.. Transcription of Wynton Kelly's piano solo on the Bb blues tune "Kelly Blue" from . Wynton Marsalis and the Jazz at Lincoln Center Orchestra Monday, March 18, . Father of Jazz Though the precise birth of jazz is still shrouded in mystery,.. Chords for Wynton Marsalis Playing Happy Birthday - transcription of the improvisation. Play along with guitar, ukulele, or piano with interactive chords and.. Amazon.com: Wynton Marsalis - Omnibook: for B-flat Instruments . members save up to 20% on diapers, baby food, & more Baby Registry Kids Birthdays . on orders over $25or get FREE Two- Day Shipping with Amazon Prime . Trumpet Omnibook: For B-Flat Instruments Transcribed Exactly from Artist Recorded Solos.. 12 2016 . Wynton Marsalis - Moanin Trumpet Solo [Free PDF] 02:22 . -
Wall to Wall Miles Davis 2001 (Disc 1 and 2) [Relaxin’ Withthemilesdavis Quintet,1956] 03
Disc 2 Song & Surprise Mileselektronika Jane Ira Bloom - soprano saxophone, live Hagans/Belden Animation Project featuring electronics DJ Kingsize Bobby Previte - drums DJ Kingsize - turntables Cameron Brown - bass Tim Hagans - trumpet Vincent Bourgeyx - piano Bob Belden - tenor saxophone 04. How Deep Is the Ocean/Solar 20:49 Scott Kinsey - piano [Miles Davis, Volume 1 (1952)/Walkin] David Dyson - electric bass Zach Danzinger - drums Someday My Prince Will Come 01. Intro - Mother Dearest Mother 0:51 The Campbell Brothers [unreleased] Phil Campbell - guitar 02. Paraphernilia 14:56 Chuck Campbell - pedal steel guitar [Miles In The Sky, 1968] Darick Campbell - lap steel guitar Malcolm Kirby, Jr. - bass Live/Evil Carlton Campbell - drums Wall to Wall Sex Mob with Bill Frisell and DJ Logic 05. Someday My Prince Will Come 3:12 Bill Frisell - guitar 06. Summertime 3:59 DJ Logic - turntables 07. All Blues 6:45 Steven Bernstein - trumpet [Someday My Prince Will Come, 1961; Miles Davis Briggan Krauss - alto saxophone Porgy And Bess, 1958; Kind Of Blue, 1959] Symphony Space Tony Scherr - bass Kenny Wolleson - drums The Miles Experience New York, NY 03. Selim 18:12 Nora York - vocals [Live/Evil, 1970] Claire Daly - baritone saxophone March 24, 2001 Dave Hofstra - bass Ronnie Williams - drums Disc 1 and 2 08. So What/I Don’t Live Today 7:09 [Kind Of Blue, 1959; Are You Experienced, 1967] Thanks to GUITARS for sharing this at Dime; and to lilioriverio and abbcccus for keeping the show alive since 2007. Lineage: cdr in trade > eac > flac level 6 MP3 Version Various Wall To Wall Miles Davis 2001 (Disc 1 and 2) Miles Davis Wall To Wall Various Disc 1 The Hot Spot Bitches Brew Olu Dara Ensemble Bobby Previte’s Voodoo Down Orchestra Olu Dara - cornet, guitar, vox Bobby Previte - drums Kwatei Jones Quartey - guitar Ray Anderson - trombone Alonzo Gardner - bass Peter Epstein - soprano saxophone Larry Johnson - drums Adam Kolker - bass clarinet Coster Massamba - percussion Pete McCann - guitar 04. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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 -
Juilliard Jazz Orchestra Wynton Marsalis , Conductor
Tuesday Evening, April 3, 2018, at 7:30 The Juilliard School presents Juilliard Jazz Orchestra Wynton Marsalis , Conductor A Tribute to Blue Note Records JACKIE MCLEAN , arr. Wynton Marsalis Appointment in Ghana MCCOY TYNER , arr. Chris Crenshaw Search for Peace WOODY SHAW , arr. Victor Goines The Moontrane HORACE SILVER , arr. Carlos Henriquez Señor Blues Intermission JOE HENDERSON , arr. Ted Nash Inner Urge HORACE SILVER , arr. David Berger Peace WAYNE SHORTER , arr. Ted Nash Fee-Fi-Fo-Fum DEXTER GORDON , arr. Sherman Irby Ernie’s Tune WAYNER SHORTER , arr. Wynton Marsalis Free for All Performance time: approximately 1 hour and 30 minutes, including one intermission Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Meet the Artist more than 25 of America’s top academic institutions including Columbia, Harvard, Howard, Princeton, and Yale. His creativity has been celebrated the world over. In 1997 he became the first jazz artist to be awarded the Pulitzer Prize in Music for his Z E N I oratorio Blood on the Fields . In 2001 he T R A was appointed Messenger of Peace by M E O Kofi Annan, secretary-general of the J Wynton Marsalis United Nations, and in 2005 Mr. -
BRANFORD MARSALIS Band, and We Got out of It What We Needed 10 Jazz Records
JULY/AUGUST 2012 ISSUE MMUSICMAG.COM JULY/AUGUST 2012 ISSUE MMUSICMAG.COM MUSICIAN Why the provocative title? in 2001, we were huffing and puffing when ESSENTIAL MARSALIS I actually didn’t want to call the record that. it was over. I bit through my lip—there was Every time I make an album, I never come up blood all over my mouthpiece. I’m blessed with a title, and my management company that I don’t have a fear of sounding bad in THE BEAUTYFUL presses me for one. To buy time, I come front of people. When I listen to early jazz ONES ARE NOT up with the stupidest title I can think of. So and read about it, there wasn’t a fear of YET BORN when they asked this time, I told them. They failure. Cats would just go out and play. Now (1991) said, “That’s great!” I said, “Not great. You guys practice, practice, practice, then they It took Marsalis several can’t use that!” Yes, I’ve got a potty mouth, rehearse for six days, then they make the years to find his way as but I don’t just put it out there. But they ran record and it sounds like a bulwark against a leader, and it wasn’t until this release, with it. Usually they’re telling me, “You can’t the possibility of something spontaneous seven years after his solo debut, that he use that.” But this time they loved it, so I said, actually happening. left no doubt he was to be a major player. -
Seven Lee Morgan Lessons Seven Lee Morgan Lessons
SEVEN LEE MORGAN LESSONS One of Philadelphia’s most talented offerings would have been 75 years old come July 10 th , 2013. The lessons we can learn from his work and his life have been deemed immeasurable. As the Philadelphia Clef Club Of Jazz and Performing Arts prepares to celebrate his having been part of our family, we thought the following might give Lee some new talking points as a sage at this age. Lee Morgan Lesson 1 : WHY LIMIT YOURSELF ??? “Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone ”. Lee Morgan Lesson 2 ::: DON’T JUST HANG AROUND OTHER MUSICIANS; MAKE IT YOUR BUSINESS TO TOURTOUR,, RECORD, INSPIRE & MATURE WITH THEM. “His primary stylistic influence was Clifford Brown , who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, He began recording for Blue Note Records in 1956, Lee also recorded for a variety of labels, including Blue Note, Vee-Jay, Roulette, Jazzland and Trip eventually recording 25 albums as a leader for the company with more than 250 musicians ”, A SERIOUSLY SMALL SAMPLING of this list includes: Hank Mobley John Coltrane Art Blakey Benny Golson Wayne Shorter Bobby Timmons Jymie Merritt Billy Hart Grachan Moncur III Freddie Hubbard Wynton Kelly Paul Chambers Grant Green Herbie Hancock Reggie Workman Billy Higgins John Gilmore Stanley Turrentine Jackie McLean Ron Carter Joe Henderson McCoy Tyner Lonnie Liston-Smith Elvin Jones Jack Wilson Reuben Wilson Larry Young Clifford Jordan Andrew Hill Billy Harper Bennie Maupin Marold Mabern Mickey Rokey Freddie Waits Oscar Peterson Lee Morgan Lesson 333: NO MATTMATTERER HOW GREAT THE INFLUENCEINFLUENCE,, DON’T LET THEM INFLUENCE YOU WITH DANGEROUS, SSTUPIDTUPID HABITS LIKE DRUGSDRUGS.DRUGS .. -
Speak No Evil
Wayne Shorter Speak No Evil (Blue Note BLP 4194 ) Speak No Evil Freddie Hubbard, trumpet; Wayne Shorter, tenor sax; Herbie Hancock, piano; Ron Carter, bass; Elvin Jones, drums. 1. Witch Hunt (Shorter) 8:07 Produced by ALFRED LION 2. Fee-Fi-Fo-Fum (Shorter) 5:50 Cover Photo by REID MILES 3. Dance Cadaverous (Shorter) 6:42 Cover Design by REID MILES 4. Speak No Evil (Shorter) 8:21 Recording by RUDY VAN GELDER 5. Infant Eyes (Shorter) 6:51 Recorded on December 24, 1964 6. Wild Flower (Shorter) 6:00 Legends, folklore and block magic--the arts of mystery and darkness--have long been a special source of inspiration for artists, perhaps because their symbols are drawn from the roots of the imagination. One of the best examples is the work of Edgar Allan Poe, who mercilessly exposed the forbidden fantasies that drift near the ends of dreams. Composers, too, have probed into similar areas. Sibelius' Valse Triste, Dukas' The Sorcerer's Apprentice, Bartok's Bluebeard's Castle and Mussorgsky's Night On The Bare Mountain are but a few of the better-known works attributable to magic, legends and folklore. The collection of Wayne Shorter compositions included in Speak No Evil follows similar lines. "I was thinking," he explained to me, "of misty landscapes with wild flowers and strange, dimly-seen shapes--the kind of places where folklore and legends are born. And then I was thinking of things like witch-burnings, too." Much of this feeling comes through in the compositions, especially in the floating harmonies, the chords filled with tonality-disturbing ambiguities, about to move in one direction but sometimes stopping to float like the elements in Shorter's "misty landscapes." The effect is heightened by the remarkable interaction between Ron Carter and Elvin Jones. -
Jazz Legacy CD PDF:Steve Smith Drum Legacy.Qxd
Steve Smith Jazz Legacy Live On Tour Steve Smith - drumset Andy Fusco - alto sax, shaker Walt Weiskopf - tenor sax, soprano sax, flute, claves Mark Soskin – piano, Fender Rhodes, maracas Baron Browne - bass Produced by Steve Smith Executive Producers: Paul Siegel and Rob Wallis Recorded live at Catalina Bar and Grill, Hollywood CA October 5-8, 2006 by Robert M. Biles Mixed October 9-12, 2006 by Robert M. Biles at Bob’s Hardware, Silverlake CA Edited by Manoj Gopinath Mastered February 2008 by Jim Brick at Absolute Audio, Atlantic Highlands NJ Photos by Tim Ellis and Rick Malkin Design by Joe Bergamini This recording is dedicated to our dear friend Steve Marcus. Special Thanks to: Extra Special thanks to my wife Diane Kiernan- Janet Williamson, Bob Biles, Tim Ellis, Mike Smith for your open attitude, warm heart and Thomas, Marko Marcinko, Tommy Coster unwavering support for the band and me. Jr., Colleen Williams, Catalina Popescu, Manny Santiago, Mark Griffith, my friends www.vitalinformation.com/steve http://www.myspace.com/stevesmithjazzlegacy at Hudson Music: Paul Siegel and Rob Wal- www.marksoskin.com lis, Zildjian: Cragie and Debbie Zildjian, www.waltweiskopf.com John DeChristopher, Paul Francis, John King, and Bob Wiczling, Sonor: Karl-Heinz Baron Browne uses Gallien-Krueger bass amps. Menzel and Thomas Barth, Vic Firth: Marco Soccoli, Vic and Tracy Firth, Remo: Matt For booking: Connors, DW pedals: Don Lombardi, Shure: Janet Williamson Music Agency Ryan Smith, Puresound Percussion: Hugh PO Box 27114 Gilmartin, Michael Bloom and Steve Orkin. Los Angeles, CA 90027 [email protected] www.janetwilliamsonmusicagency.com Copyright © 2008 Hudson Music LLC All Rights Reserved www.hudsonmusic.com Live On Tour 1. -
Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By
TONE PARALLELS IN MUSIC FOR FILM: THE COMPOSITIONAL WORKS OF TERENCE BLANCHARD IN THE DIEGETIC UNIVERSE AND A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON Johnathan B. Horton B.A., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Richard DeRosa, Major Professor Eugene Corporon, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Horton, Johnathan B. Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton. Doctor of Musical Arts (Performance), August 2017, 46 pp., 1 figure, 24 musical examples, bibliography, 49 titles. This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non- diegetic tone parallel that musically narrates several authentic characteristics of African- American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. -
Program in Music Performance Chair, Department of Music Wednesday, May 5, 2021 at 7:30Pm Live-Streamed from Richardson Auditorium, Alexander Hall
2020-2021 SEASON CONGRATULATIONS CLASS OF 2021 On behalf of the Department of Music, we offer our congratulations and gratitude for your continued passion, dedication, and perseverance. This recital is the culmination of years of hard work and devotion to your instrument—and to a love of music that we hope you will continue to nurture always. Even amid the many demands of a Princeton University education, and the challenge of a global pandemic, you have found ways to prioritize a deep commitment to the arts. Thank you for that commitment, and for adding your voice to the shared harmony of a world that needs to hear it now more than ever. We hope you feel proud of what you accomplished — we are certainly proud of you! Wendy Heller Michael Pratt Scheide Professor of Music History Director, Program in Music Performance Chair, Department of Music Wednesday, May 5, 2021 at 7:30pm Live-Streamed from Richardson Auditorium, Alexander Hall PRINCETON UNIVERSITY CERTIFICATE PROGRAM IN MUSICAL PERFORMANCE RECITAL Ben Alessio ’21, Jazz Percussion music.princeton.edu 1 Woody Shaw Organ Grinder Bobby Hutcherson Comes Spring Lionel Loueke Sleepless Night Thelonious Monk Evidence Geri Allen Mounts and Mountains Cole Porter Night and Day Ben Alessio The Ropewalker 2 ABOUT THE ARTISTS BEN ALESSIO ’21 (he/him) is a drummer from Algonquin, IL. He will be graduating with a degree in physics and a certificate in jazz stud- ies. Ben began playing drums as soon as he could hold sticks to hit his father’s Ludwig drum set from the 1970’s. In middle school he started a punk rock band and played in the school jazz band.