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Legal Use Requires Purchase CONDUCTOR by John L
Road Song By John L. (Wes) Montgomery Arranged by Alan Baylock INSTRUMENTATION Conductor 1st Trombone 1st E Alto Saxophone 2nd Trombone b 2nd E Alto Saxophone 3rd Trombone b 1st B Tenor Saxophone Bass Trombone b 2nd B Tenor Saxophone Guitar Chords b E Baritone Saxophone Guitar b 1st B Trumpet Piano b 2nd B Trumpet Bass b 3rd B Trumpet Drums b 4th B Trumpet b Optional/Alternate Parts Sample Solo C insts Sample Solo B Trumpet b Sample Solo B Tenor Sax b Sample Solo E insts b Sample Solo Trombone C Flute Vibraphone Tuba (Doubles Bass) Horn in F (Doubles 1st Trombone) 1st Baritone Horn T.C./B Tenor Saxophone (Doubles 1st Trombone) b Preview Only(Doubles 2nd Trombone) 2nd Baritone Horn T.C./B Tenor Saxophone b 3rd Baritone Horn T.C./B Tenor Saxophone (Doubles 3rd Trombone) Legal Use Requiresb Purchase NOTES TO THE CONDUCTOR Alan Thanks for your interest in this new arrangement of Wes Montgomery’s classic, Road Song. It’s written to feature your Baylock guitarist on the melody and on the improvised solo passages. I have included written-out suggested solo parts for C, B-flat, Alan Baylock is quickly becoming recognized as E-flat, and bass clef instruments for solo flexibility. Therefore guitar or any wind instrument could be the featured soloist. one of the most creative young voices in the music business today. He is in demand as a composer, To achieve the right vibe and feel, please have the band listen closely to Wes’ 1968 version found on the Road Song album. -
El Paso and the Twelve Travelers
Monumental Discourses: Sculpting Juan de Oñate from the Collected Memories of the American Southwest Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV – Sprach- und Literaturwissenschaften – der Universität Regensburg wieder vorgelegt von Juliane Schwarz-Bierschenk aus Freudenstadt Freiburg, Juni 2014 Erstgutachter: Prof. Dr. Udo Hebel Zweitgutachter: Prof. Dr. Volker Depkat CONTENTS PROLOGUE I PROSPECT 2 II CONCEPTS FOR READING THE SOUTHWEST: MEMORY, SPATIALITY, SIGNIFICATION 7 II.1 CULTURE: TIME (MEMORY) 8 II.1.1 MEMORY IN AMERICAN STUDIES 9 II.2 CULTURE: SPATIALITY (LANDSCAPE) 13 II.2.1 SPATIALITY IN AMERICAN STUDIES 14 II.3 CULTURE: SIGNIFICATION (LANDSCAPE AS TEXT) 16 II.4 CONCEPTUAL CONVERGENCE: THE SPATIAL TURN 18 III.1 UNITS OF INVESTIGATION: PLACE – SPACE – LANDSCAPE III.1.1 PLACE 21 III.1.2 SPACE 22 III.1.3 LANDSCAPE 23 III.2 EMPLACEMENT AND EMPLOTMENT 25 III.3 UNITS OF INVESTIGATION: SITE – MONUMENT – LANDSCAPE III.3.1 SITES OF MEMORY 27 III.3.2 MONUMENTS 30 III.3.3 LANDSCAPES OF MEMORY 32 IV SPATIALIZING AMERICAN MEMORIES: FRONTIERS, BORDERS, BORDERLANDS 34 IV.1 LANDSCAPES OF MEMORY I: THE LAND OF ENCHANTMENT 39 IV.1.1 THE TRI-ETHNIC MYTH 41 IV.2 LANDSCAPES OF MEMORY II: HOMELANDS 43 IV.2.1 HISPANO HOMELAND 44 IV.2.2 CHICANO AZTLÁN 46 IV.3 LANDSCAPES OF MEMORY III: BORDER-LANDS 48 V FROM THE SOUTHWEST TO THE BORDERLANDS: LANDSCAPES OF AMERICAN MEMORIES 52 MONOLOGUE: EL PASO AND THE TWELVE TRAVELERS 57 I COMING TO TERMS WITH EL PASO 60 I.1 PLANNING ‘THE CITY OF THE NEW OLD WEST’ 61 I.2 FOUNDATIONAL -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Thad Jones Discography Copy
Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr. -
Concert Jazz Orchestra
PERSONNEL STUDIO JAZZ BAND CONCERT JAZZ ORCHESTRA Alto Sax—Hayden Dekker* Alto Sax—Kyle Myers*† Alto Sax—Jordan Guzman* Alto Sax—Grant Beach* Tenor Sax—Andrew Rosenblum* Tenor Sax—Brandon Baker* Tenor Sax—Brandon Muhawi* Tenor Sax—Josias Miguel* Baritone Sax—Emily Williams* Baritone Sax—Howard Hardaway* Trumpet—Max Maynard Trumpet—Andrew Solares*+ Trumpet—Elias Rodriguez* Trumpet—Adam Portocarrero*+ Trumpet—Ryan Furness* Trumpet—Evan Hamada*> Trumpet—Alex Hille Trumpet—Adam Rosenblum* CONCERT JAZZ Trombone—Ethan Saxe Trombone—Ethan Saxe Trombone—Luke Lizotte* Trombone—Chris Innes+ Trombone—Max Mineer* Trombone—Anna Menotti* Trombone—Daniel Nakazono Trombone—Rob Verdugo Trombone—Evan Wicks Guitar—Mauricio Martin* ORCHESTRA Vibes—Joseph Nazariego* Guitar—Daniel Mandrychenko* Piano—Eric Bell*^ Piano—Alex Flavell*^ Bass—Matthew Evans* Bass—Evan Tom*‡ Drums—Jackie Rush*^ / Ryan Dong* Drums—Karo Galadjian*^ *—Jazz Studies Major †—Beau & Jo France Graduate Jazz Studies Scholar STUDIO JAZZ BAND +—Cole Scholar ‡—Jazz Studies Scholar ^—KKJZ Scholar >—President's Scholar JEFF JARVIS, DIRECTOR UPCOMING “JAZZ AT THE BEACH” EVENTS JEFF HAMILTON, GUEST ARTIST November 23 Pacific Standard Time, Jazz & Tonic November 24 Jazz Lab Band, 4PM, Daniel Recital Hall December 6 Jazz @ the Nugget, 5PM SUNDAY, NOVEMBER 10, 2019 4:00PM GERALD R. DANIEL RECITAL HALL PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. This concert is funded in part by the INSTRUCTIONALLY RELATED ACTIVITIES FUNDS (IRA) provided by California State University, Long Beach. recordings for such names as Lou Rawls, Michael Jackson, Melba Moore, The O’Jays and more. Live performance credits include Gladys Knight, Van Morrison, Dizzy Gillespie, Louie Bellson, Joe Williams, Benny Golson, Jon Hendricks, Jimmy Heath, Joe Lovano, Henry Mancini, Slide Hampton, Kevin Mahogany, Grady Tate, Eddie Daniels, Rob McConnell, and Doc Severinsen. -
Harlem Speaks by Andy Vélez a SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps Became John Coltrane’S First Genuinely Iconic Album
visitors center: OPEN M-F 10 AM - 4 PM 104 E. 126th Street, #2C, New York, NY 10035 (Take the 2/3/4/5/6 train) WWW.JMIH.ORG THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS Giant Steps Unison Tommy Flanagan George Mraz/Zoe (Enja) Rahman (Cube-Metier) Harlem Speaks by Andy Vélez A SPECIAL SERIES HONORING HARLEM HEROES Recorded in 1959, Giant Steps became John Coltrane’s first genuinely iconic album. Pianist Tommy Flanagan was among the players on the recording, which was 10/31 David Amram notable stylistically for a movement away from chordal Multi-instrumentalist/ composer/ author jazz. This reissue of Flanagan’s 1982 Giant Steps is an homage to Coltrane, repeating several of the tracks while adding “Central Park West”. During the ‘80s, Photo copyright Richard Conde. THE NATIONAL JAZZ MUSEUM IN HARLEM 104 EAST 126TH STREET, SUITE 2C DONATION SUGGESTED 6:30 - 8:30PM FOR MORE INFORMATION: 212-348-8300 Flanagan favored trios and frequently played with Czech-born bassist George Mraz. Theirs was a felicitous coming together as evident here and recalled fondly by denizens of Bradley’s, a long-gone-but-not-forgotten Village jazz spot where they appeared frequently. Flanagan is notably more confident with what had been a new idiom the first time around. That sureness of technical facility is evident from the first note to the last and the same is true for Mraz. By this time the latter had become one of the most dependable of October 4: FFEAR rhythm men. Together they are as close as pages in a $18 ADVANCE $20 AT DOOR book on a funky “Cousin Mary”. -
Mariella Cassar
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2014 Creative Responses to Maltese Culture and Identity: Case Study and Portfolio of Compositions Cassar, Mariella http://hdl.handle.net/10026.1/3112 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. CREATIVE RESPONSES TO MALTESE CULTURE AND IDENTITY: CASE STUDY AND PORTFOLIO OF COMPOSITIONS by MARIELLA CASSAR A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY University College Falmouth Incorporating Dartington College of Arts January 2014 MARIELLA CASSAR CREATIVE RESPONSES TO MALTESE CULTURE AND IDENTITY: CASE STUDY AND PORTFOLIO OF COMPOSITIONS Abstract The aim of this thesis is to explore the relationship between place, identity and musical practice. The study is inspired by Malta’s history and culture. This work presents a portfolio of seven musical compositions with a written component that highlights the historical and socio-cultural issues that had a bearing on the works presented. -
The Jon Faddis Jazz Orchestra
EK-Bro_05-06_1 8/25/04 11:36 PM Page 1 2005-2006 2005-2006 TBA PAID PRSRT STD PRSRT U.S. POSTAGE POSTAGE U.S. ??????????? Special Tours Special Tours BOOTH Sherrie Maricle & DIVA The Jon Faddis Jazz Orchestra The Jon Faddis Jazz Orchestra - the jazz orchestra of New York - Paramount Days Revisited continues the mission and legacy of its predecessor, the Carnegie APAP Introducing new, exciting faces such as Special Guests Hall Jazz Band. As Gary Giddins, writing for The Village Voice (July including new vocalist Rachael Price. From the 1920’s 2002), declared, “In a rare battle of the bands ... the Carnegie through the 1960’s “variety” theater flourished – The Hall™ Jazz Band shellacked the Lincoln Center Jazz Orchestra.” The Paramount, The Apollo, The Capitol, The Golden Gate, CHJB’s legacy of artistic diversity, superbly adventuresome The Chicago Theater, The Strand, The Hungry I, The Bon arrangements and musical preeminence stands firm. From 1992 to Soir and more - vaudeville to television – a new singer, 2002, the CHJB, with Music Director Jon Faddis, regularly brought #112 (Jazz Instrumental Performances Only) comedian, dance act – all backed by a live big band – jazz to full houses at Carnegie Hall’s 2800 seat Isaac Stern shared the same stage. From the famous “two-a-day” Auditorium and around the world. at the Palace to Ed Sullivan, careers were made and new stars discovered! And now, the RETURN… The JFJO can create specialized programming, customized by Artistic Director Jon Faddis. Venues may choose the opportunity to develop entirely new programs (new commissioned works, particular themes or artists) or to draw upon the depth of unique existing charts (many premiered at Carnegie Hall). -
GIVING a JAZZ RECORD AS a GIFT by Eric Myers National Times, December 7, 1980 ______
GIVING A JAZZ RECORD AS A GIFT by Eric Myers National Times, December 7, 1980 ______________________________________________________________ The National Times opera critic JOHN CARMODY, Sydney Morning Herald jazz critic ERIC MYERS and rock writer SHANE NICHOLS prepared this guide to records most likely to be gratefully received. They cover a range of tastes and should be available. ______________________________________________________________ f you are buying a jazz record as a gift, you should determine the style preferred. There are so many different, although related, idioms I congregating under the banner of "jazz" that it is rarely possible, these days, to buy a "jazz" album that suits all tastes. Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). If the recipient likes big band jazz, you could do no better than the three-record set Duke Ellington At Fargo 1940 Live (Book Of The Month Records 305622). This was a performance at the Crystal Ballroom, Fargo, North Dakota, on 1 November 7, 1940. Many critics believe, with some justice, that this particular line-up of musicians was the greatest that Ellington ever assembled. This was a special performance - the first night Ray Nance played in the trumpet section, having just replaced Cootie Williams, who had left to join Benny Goodman. Rex Stewart is also in the section. The saxophones include Barney Bigard (clarinet), Johnny Hodges (alto) and Ben Webster (tenor) among others; Tricky Sam Nanton and Lawrence Brown are among the trombones; and the great Jimmy Blanton is on bass. It is a distinguished line-up, and the band roars through the Ellington repertoire with all the qualities that made it the greatest big band in jazz. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Saxophonist & Composer PHILLIP JOHNSTON NEW RELEASES
ever needing to hear another take on “I’m In The Mood a lute with a short fingerboard and 11-13 strings, For Love”? Yeah, probably, but this one is fine. “And traditionally used in Arabian, Egyptian, Jewish, Now The Queen” is much more interesting; Goldings Palestinian, Iraqi, Persian, Turkish and Armenian music. opens it with some deeply unsettling noises that could In the jazz world, the oud has been explored by Ahmed come off a Supersilent album, as Stewart bows his Abdul-Malik, Rabih Abou-Khalil and Anouar Brahem. cymbals and rattles his kit like he’s stress-testing the Canadian guitarist Gordon Grdina comes forth mounting hardware. Although the piece has a powerful with a strong, individual voice and the ensemble is melody, it appears as a series of unexpected surges, assimilated like it’s a new discovery of something punctuation at the end of long bursts of disjointed around for a long time. Percussionist Hamin Honari Toy Tunes weirdness. “Toy Tune” builds on a deceptively simple provides extraordinary accompaniment, especially for Larry Goldings/Peter Bernstein/Bill Stewart (Pirouet) head, allowing the trio to meander around for seven listeners used to the American drumset. As he is by Phil Freeman minutes, making it the longest track. “Maybe” is an credited on tombak and daf (traditional Iranian drums), ideal closer, a gentle tune delivered without disruption one wonders from where all of his nuanced sounds Organ player Larry Goldings, guitarist Peter Bernstein or undue exuberance, bringing the mood down to a emanate. The texture and timbre of Honari’s percussion and drummer Bill Stewart first convened as a trio for soothing simmer as the music fades away. -
For Immediate Release
FOR IMMEDIATE RELEASE June 15, 2010 Contact: Joyce Evans San Jose Jazz Office: 408-288-7557 x2310 [email protected] SAN JOSE JAZZ ANNOUNCES ARTISTS FOR 21ST AT&T SAN JOSE JAZZ FESTIVAL Silicon Valley's Premier Summer Event Brings All-Star International Lineup to Downtown San Jose, August 13-15, 2010 San Jose, CA – San Jose Jazz today announced the artist roster for the upcoming AT&T San Jose Jazz Festival. Held the second weekend in August, this year's line up has an international flavor coupled with a diverse lineup that will please lovers of all genres of music. Past festivals have drawn over 100,000 people from Silicon Valley, California, and across the United States. "San Jose is becoming a world-class, international city and this edition of the jazz festival mirrors that growth from a regional event to one that is gaining recognition and fame across the globe," said Geoff Roach, CEO of San Jose Jazz. "As jazz continues to evolve into many different formats and forms, the goal of the festival is to embrace and showcase the artists driving the art form. We seek to present music not only from internationally known artists but also from the world-class talent that exists here in the Bay Area." Festival highlights include: Standards Updated - Modern takes on the classic jazz repertoire John Handy John is a consummate world musician and teacher who’s devoted his life to using music to elevate the human spirit. His soulful and fiery saxophone style is instantly recognizable to generations of jazz fans world-wide.