DOCSLIB.ORG

CH Rental 5/9/13 11:42 AM Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CH Rental 5/9/13 11:42 AM Page 1 05-21 DCINY Caleb_CH Rental 5/9/13 11:42 AM Page 1 Tuesday Evening, May 21, 2013 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Distinguished Concerts International New York (DCINY) Iris Derke, Co-Founder and General Director Jonathan Griffith, Co-Founder and Artistic Director presents Caleb Chapman’s Crescent Super Band with Special Guest , DAVID SANBORN also Featuring WAYNE BERGERON, RUSSELL SCHMIDT, THE VOODOO ORCHESTRA, and LA ONDA CARIBEÑA THE VOODOO ORCHESTRA PAUL FRANCIS Spider-Man WEBSTER/BOB HARRIS arr. DAVID FOSTER/ JERRY HEY STUART HAMBLEN This Old House arr. GREG HANSEN JACK LAWRENCE Beyond the Sea arr. JERRY SHEPHERD MONTY NORMAN James Bond Theme arr. TOM DAVIS BRIAN SETZER Hoodoo Voodoo Doll (World Premiere) arr. GREG HANSEN LA ONDA CARIBEÑA HÉCTOR LAVOE/ Llego la Banda WILLIE COLÓN arr. MARTY SHELLER VICTOR LOPEZ Salsa Caribeña (World Premiere) (program continued) PLEASE TURN OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. 05-21 DCINY Caleb_CH Rental 5/9/13 11:42 AM Page 2 EMILIO ESTEFAN JR./ No Me Dejes de Querer MARCO FLORES/ ROBERT BLADES GORDON GOODWIN Horn of Puente TITO PUENTE Para Los Rumberos Intermission CRESCENT SUPER BAND FREDERIC LOEWE On the Street Where You Live arr. GREG HANSEN NATHANIEL IRVIN III/ Tightrope (World Premiere) CHARLES JOSEPH, II/ JANELLE MONÁE/ ANTWON PATTON arr. SAM CARDON VICTOR YOUNG When I Fall in Love arr. DAVE WOLPE RUSSELL SCHMIDT Percolating (World Premiere) PAUL M cCARTNEY Can’t Buy Me Love arr. JOHN CLAYTON/ DAVID FOSTER LEONARD BERNSTEIN West Side Story Medley arr. BILL REDDIE HAROLD ARLEN Down with Love EDWARD HARCOURT I Put a Spell on You (World Premiere) arr. JOHN CLAYTON JAMIE SABATER/ Bang Bang (World Premiere) JOE CUBA arr. GREG YASINITSKY LOUIS PRIMA Sing, Sing, Sing (With a Swing) 05-21 DCINY Caleb_CH Rental 5/9/13 11:42 AM Page 3 THE Artists CALEB CHAPMAN, Director Caleb Chapman’s vision and accom - plishments have marked him as a rising star both domestically and internation - ally. As the president of Caleb Chap- man Music, he directs more than 150 of Utah’s most talented young musicians in 11 elite ensembles, including the Cres- cent Super Band. In 2011 at age 37, he was named the youngest-ever John LaPorta International Jazz Educator of the Year, one of the highest honors in music education. More recently Utah Governor Gary Herbert announced that Mr. Chapman will be honored with the prestigious 2013 Utah Performing Artist articulation and style to young musi - Award in a special dinner reception at cians, and features 14 original songs from the governor’s mansion. multi-Grammy Award–winning member of the Dave Matthews Band, Jeff Since 2005 Mr. Chapman’s students Coffin. Mr. Chapman also writes a reg - have been honored with 22 DownBeat ular column for the Daily Herald news - Aw ards and 12 Best of State Awards for paper, entitled Sound Thinking. Utah. He was named Best Educator in 2011 and Best Music Educator in 2012 Mr. Chapman is a board member of the by Utah Best of State. Graduates of Mr. Jazz Education Network (JEN), past Chapman’s program have been placed president of the Utah unit of the Inter- in the top music schools in the country, national Association for Jazz Educat- including Juilliard, the University of ion (IAJE), and a member of the IAJE Miami, the Berklee College of Music, Resource Team. He also serves as festi - USC, and the Manhattan School of val director of the Peaks, Puerto Music—with annual scholarship offers Vallarta, and JENerations jazz festivals. of more than $1,000,000. He is a featured clinician and sponsored performer for Yamaha Saxophones, In 2013 Mr. Chapman released his first Rico Reeds, JodyJazz Mouthpieces, book, The Articulate Jazz Musician and Planet Waves Cables. This evening (Alfred Publishing). The text explains marks Mr. Chapman’s debut perform - his celebrated method of teach ing jazz ance with DCINY. 05-21 DCINY Caleb_CH Rental 5/9/13 11:42 AM Page 4 THE CRESCENT SUPER BAND Organized in 2001 under the direction other professional music, arts, and film of Caleb Chapman, the award-winning group for the honor. Crescent Super Band has frequently been hailed as one of the best profes - The Crescent Super Band has also caught sional bands in the world comprised the attention of many of today’s top entirely of young musicians. The Band artists. The Band has performed with has been featured at many prestigious more than 200 guest artists, including jazz festivals, including Montreux (Swit- Grammy Award–winners Gordon Good- zerland), North Sea (The Netherlands), win, Esperanza Spalding, Joe Lovano, Umbria (Italy), and Vienne (France). The Bob Mintzer, Randy Brecker, Nicholas Band also has a strong domestic pres - Payton, Christian McBride, Eric Marien- ence, having recently performed in thal, Dave Weckl, Bob Mintzer, Ernie Chicago, Boston, New York, Telluride, Watts, Peter Erskine, and Dave Sam- Washington, D.C.,and Los Angeles. uels. Other notable guest artists include members of the Dave Matthews Band, On multiple occasions DownBeat mag - Journey, The Rolling Stones, Big Bad azine has recognized the Crescent Voodoo Daddy, Genesis, AC/DC, Tower Super Band with their coveted Down- of Power, and the Saturday Night Live Beat Award, marking them as the best Band. The Crescent Super Band exclu - youth big band in the country. The sively endorses Yamaha Instruments, Band has also won nine Best of State D’Addario Guitar and Bass Strings, Awards, including seven consecutive Rico Reeds, JodyJazz Mouthpieces, years as Utah’s Best Professional Band Evans Drum Heads, HQ Percussion, in any genre. They received two presti - Planet Waves Cables, LP Latin Percuss- gious Best of State Statue Awards, as ion, and Puresound Snare Wire. Tonight the top organization in arts and enter - marks the Band’s first performance tainment in Utah, having beat out every with DCINY. DAVID SANBORN, Guest Artist gold albums and one platinum album. Having inspired countless other musi - cians, Mr. Sanborn has worked in many genres, blending instrumental pop, R&B, and, more recently, traditional jazz. He released his first solo album Taking Off in 1975, but has been playing the saxo - phone since before he was in high school, having been inspired at a young age by the great Chicago blues artists near his hometown of St. Louis. Having contracted polio at age three, Mr. Sanborn was introduced to the sax - In his nearly four-decade career, David ophone as part of his treatment therapy. Sanborn has released 24 albums, won By age 14 he was able to play with leg - six Grammy Awards, and has had eight ends such as Albert King and Little 05-21 DCINY Caleb_CH Rental 5/9/13 11:42 AM Page 5 Milton. Mr. Sanborn went on to study Need Is You,” he won his first Grammy music at Northwestern University Award, for Best R&B Instru mental before transferring to the University of Performance. In 1983 Mr. Sanborn Iowa, where he played and studied with released the hit album Backstreet, with the great saxophonist J. R. Monterose. Luther Vandross as a featured guest vocalist. His later albums have included After traveling to California on the Jack DeJohnette, Bill Frisell, Charlie advice of a friend, he joined the Butter- Hayden, Wallace Roney, Kenny field Blues Band and played Wood stock Barron, Christian McBride, and Eric with Paul Butterfield. Thereafter Mr. Clapton as guest artists. Sanborn toured with Stevie Wonder, recorded for Wonder’s Talking Book Moving into television, Mr. Sanborn album, played with The Rolling Stones, hosted the show Night Music, from and toured with David Bowie—with 1988 to 1990. Produced by Saturday whom he recorded the famous solo Night Live creator Lorne Michaels, the heard on “Young Americans.” At the show featured films of jazz legends, same time, he was touring and record - such as Thelonious Monk, Dave ing with the great Gil Evans, dividing Brubeck, and Billie Holiday, as well as his attention between the two. After banter and memorable music jams by a moving to New York City and studying remarkable list of musicians—Sonny with George Coleman, Mr. Sanborn Rollins, Miles Davis, Joe Sample, and launched his solo career, in which he Pharoah Sanders, among others. He would later collaborate with Paul Simon has also regularly hosted the After New and James Taylor. Year’s Eve television special on ABC. During the 1980s and 1990s he hosted Mr. Sanborn’s solo release of Taking a syndicated radio program, The Jazz Off in 1975—still considered a classic — Show with David Sanborn . Mr. further solidified his career. His 1979 Sanborn has also recorded many televi - release of Hideaway became a popular sion theme songs and songs for The hit and further propelled Mr. Sanborn’s Late Late Show with Tom Snyder . He ascent with the single, “Seduction,” continues to be one of the most active featured in the film American Gigolo . musicians of his genre. Mr. Sanborn is Veteran bassist and composer Marcus an artist who pushes the limits and con - Miller joined Mr. Sanborn on his 1981 tinues to make music that challenges the album, Voyeur . With the single, “All I mind and goes Straight to the Heart . 05-21 DCINY Caleb_CH Rental 5/9/13 11:42 AM Page 6 WAYNE BERGERGON, Guest Artist no intention of slowing down. He is best known for his stints as lead trum - pet player with the Maynard Ferguson Band and more recently, Gordon Goodwin’s Big Phat Band. Mr. Bergeron’s first solo album, entitled You Call This a Living? earned him a Grammy nomination for Best Large Jazz Ensemble and features some of the greatest jazz musicians in the business.
Load more

Recommended publications
  • 00-25250.Pdf
    INTRODUCTION s a young musician, I can remember how exciting it was • Eric Marienthal, a remarkable saxophonist, can be heard to advance to each successive level because it meant I on recordings with the Chick Corea Electric Band and the was getting to play with highly skilled musicians. That’s Rippingtons, as well as on many recordings under his own the secret to improving your game—play with musicians name. Awho are better than you. Even though it can be a little intimidating • Andy Martin, a superb improviser and one of the most at times, or even embarrassing a few times in my case, spending facile trombonists in Los Angeles, sets a new standard for time paying your dues with accomplished players is a great way to jazz trombone. accelerate your musical growth. Accordingly, I believe this book will provide you with a unique opportunity. Since improvisation is an important facet in jazz, I have included chord changes for the solo sections in the saxophone, I count myself as one lucky guy, to lead a band with the caliber trumpet, and trombone books. The play-along recording has of musicians who make up the Big Phat Band. The players in the the solos mixed out so that you can jump in and blow! Selected band are uniquely skilled and are without exception, masters at transcriptions of some of the solos recorded by various band playing big band jazz in a variety of styles. They fearlessly attack members are included in the saxophone, trumpet, and trombone the most difficult material I throw at them.
    [Show full text]
  • 94 DOWNBEAT JUNE 2019 42Nd ANNUAL
    94 DOWNBEAT JUNE 2019 42nd ANNUAL JUNE 2019 DOWNBEAT 95 JeJenna McLean, from the University of Northern Colorado in Greeley, is the Graduate College Wininner in the Vocal Jazz Soloist category. She is also the recipient of an Outstanding Arrangement honor. 42nd Student Music Awards WELCOME TO THE 42nd ANNUAL DOWNBEAT STUDENT MUSIC AWARDS The UNT Jazz Singers from the University of North Texas in Denton are a winner in the Graduate College division of the Large Vocal Jazz Ensemble category. WELCOME TO THE FUTURE. WE’RE PROUD after year. (The same is true for certain junior to present the results of the 42nd Annual high schools, high schools and after-school DownBeat Student Music Awards (SMAs). In programs.) Such sustained success cannot be this section of the magazine, you will read the attributed to the work of one visionary pro- 102 | JAZZ INSTRUMENTAL SOLOIST names and see the photos of some of the finest gram director or one great teacher. Ongoing young musicians on the planet. success on this scale results from the collec- 108 | LARGE JAZZ ENSEMBLE Some of these youngsters are on the path tive efforts of faculty members who perpetu- to becoming the jazz stars and/or jazz edu- ally nurture a culture of excellence. 116 | VOCAL JAZZ SOLOIST cators of tomorrow. (New music I’m cur- DownBeat reached out to Dana Landry, rently enjoying includes the 2019 albums by director of jazz studies at the University of 124 | BLUES/POP/ROCK GROUP Norah Jones, Brad Mehldau, Chris Potter and Northern Colorado, to inquire about the keys 132 | JAZZ ARRANGEMENT Kendrick Scott—all former SMA competitors.) to building an atmosphere of excellence.
    [Show full text]
  • Stephen Holley (303) 246-0506 [email protected] Steveholleymusic.Com
    Stephen Holley (303) 246-0506 [email protected] steveholleymusic.com EDUCATION Arizona State University Tempe, AZ Ph.D. student in Music Learning and Teaching, expected graduation 2022 The University of Memphis Memphis, TN M.M., Jazz/Classical Bass Performance December, 1998 Secondary Concentration in Musicology The University of Memphis Memphis, TN B.M., Jazz/Classical Bass Performance August, 1995 Minor in Music Business RESEARCH/TEACHING INTERESTS Blending formal, non-formal, and informal approaches in the rehearsal to nurture a differentiated, democratic, learner-centered environment Incorporating facets of popular music education into the current music education paradigm in an effort to cultivate a more culturally relevant, transformative music education experience for students that is both equitable and accessible Identifying and exploring the lived experienced of musicians and how these experiences–– both intramusical and extramusical––inform and influence their teaching practice. Fostering the next generation of music educators and their efforts in producing a diverse, culturally responsive, well-rounded music education for all students Identifying and troubling emerging practices around ways of learning and teaching in popular music through a lens of critical pedagogy BOOKS Holley, S., Reinhert, K., and Moir, Z. (2021, June) Action-based approaches in popular music education. Fflat Books. Holley, S. (2020, November). Coaching a popular music ensemble: Blending formal, non-formal, and informal approaches in the rehearsal. McLemore Ave Music. Holley, S. (2019, May). Coaching a popular music ensemble: Blending formal, non-formal, and informal approaches in the rehearsal (2nd ed.) Fflat Books. BOOK CHAPTERS Holley, S. (in press). Intersections and roundabouts; Connecting in-school and out-of- school experiences to teaching practices.
    [Show full text]
  • HAPCO Summer Jazz Band Camp Camp Host Lead Clinician Details
    HAPCO Summer Jazz Band Camp Camp includes: June 15-19, 2020 · master classes presented by Florida Lottery & Duke Energy · improv · jam sessions · jaZZ business, theory + history Camp Host · career tools · video projects for clinician critique HAPCO Music Foundation · zoom social dinner Joseph McMullen HAPCO Chairman & Founder Oakland Town Commissioner You’ll learn from professional and university-level clinicians, who [email protected] | 800.409.6133 emphasiZe fun and energy in a positive environment. You’ll gain www.hapcopromo.org insights from professional musicians. Instagram: HapcoMusic | Facebook: HapcoMusicFoundation PO Box 784581 | Winter Garden, Florida 34778 You’ll have fun with friends, old and new, who share your passion for jaZZ music. We’ve worked in virtual collaboration exercises as well as social events like Zoom dinners, where you can get to Lead Clinician know other musicians. Scott Wilson Director of JaZZ Studies, University of Florida You’ll perform alongside the clinicians on Facebook Live. You’ll www.scottwilsonjaZZ.com build your confidence and your skills – and your network of Facebook @ScottWilsonJazZ connections. 435.851.6363 [email protected] It’s a week of jaZZ, learning and making life-long friends. Jazz music is a global language of unity, innovation and Details friendship. · The camp is open to 2020/21 7th-12th graders. · Campers must have a minimum of one year of training on their At this online camp, our clinicians will help make this a week of chosen instrument. fun jams, creativity and great jaZZ. · Registration is $150. · Accessibility: If a camper requires special accommodations, To ensure the safety and well-being of our students and please contact HAPCO before registering; we will work to clinicians, our Summer Jazz Band Camp will be completely verify that we will be able to adequately meet your online via Zoom and Facebook Live.
    [Show full text]
  • CALTECH JAZZ BAND Directed by Barb Catlin
    CALTECH JAZZ BAND Directed by Barb Catlin presents the guest artist jazz concert featuring Trumpeter Trombonist WAYNE ANDY MARTIN BERGERON Saturday, February 1, 2014 8:00 pm Beckman Auditorium PROGRAM Caltech offers excellent opportunities for the study and performance The Caltech Jazz Band of music, theater and the visual arts. The Performing and Visual Arts Faculty are committed to quality in performance and educa- tion, and share a dedication to serve the student who wishes to Bebop Charlie composed/arranged Bob Florence enrich and broaden his or her college experience. Students can receive academic credit for their participation. A Friend Like Me composed Alan Menken/arranged Bill Liston Performing and Visual Arts plays a vital role in realizing the You Go to My Head composed J. Fred Coots/arranged Tom Kubis Institute’s mission of “… educating outstanding students to become creative members of society.” Black Orpheus composed Luiz Bonfa/arranged Tom Kubis For more information about Caravan composed Juan Tizol/arranged Tom Kubis Performing and Visual Arts at Caltech, please call us at 626-395-3295 or visit us at www.music-theater-art.caltech.edu Intermission Have You Heard composed Pat Metheny/Arranged Bob Curnow My Lament composed/arranged Maria Schneider Richards Instrumental Music Fund In memory of Gertrude and Huldric Richards, and honoring Nori I Thought About You composed Jimmy Van Heusen/arranged Tom Kubis and Ray Richards for their support of Caltech’s Instrumental Music Program. Interest generated by the Richards Fund will be used at Maynard & Waynard composed & arranged by Gordon Goodwin the discretion of Bill and Delores Bing, or those who may succeed them in guiding the Caltech Instrumental Music Program.
    [Show full text]
  • Download 2017 Jazz Festival Program
    February 23-25, 2017 Grounded in Tradition. Breaking New Ground. www.uidaho.edu/jazzfest hampjazz ii University of Idaho GENERAL INFORMATION GENERAL Welcome TO THE FESTIVAL AT THE UNIVERSITY OF IDAHO! elcome to 50 years of Vandal tradition – a half century of excellence at the Lionel Hampton Jazz Festival. This signature Vandal event is where key aspects of our mission – teaching, learning and exploration, and community engagement – truly take Wcenter stage. As we gather for a celebration of our festival’s history and its bright future, effectively captured in the “Grounded in Tradition. Breaking New Ground.” theme, we celebrate our students, our teachers both from UI and visiting, and our performers. Our 50th anniversary sees the festival with some changes, intended to refocus and reenergize this great event. For 2017 the Lionel Hampton Jazz Festival returned to our Lionel Hampton School of Music within the College of Letters, Arts and Social Sciences. I thank our School of Music for the way they’ve seamlessly handled this transition intended to improve the overall event experience for students, faculty and attendees. Their behind-the-scenes management is something many attendees may not notice, but will benefit from through a memorable experience. This year we have three days and nights of exciting music education and concerts, with all of it taking place right on campus. Another noticeable change is a shift in the student experience: The festival now offers a competitive track option for student performers. Adjudicators will hand-select soloists and combos from our K-12 participant ranks to perform on the main stage at each evening’s concert, as they did when Lionel performed here.
    [Show full text]
  • Pdf, 497.41 KB
    The Adventure Zone: Live in Austin! Published on September 8th, 2017 Listen on TheMcElroy.family [theme music plays] Audience: [cheering] Griffin: Uh, hey! Justin: If you were doing a documentary about us, that would be the moment that you just saw, where you‘d be like, ―And after that, it all went wrong.‖ Clint: [laughs] Travis: I brought some hard candy that I was gonna like, fling out into the audience… Audience: [cheers] Griffin: No, I told him it‘s— Travis: Griffin told me not to do it, but it sounds like... Griffin: It‘s fucking jawbreakers. Like, those would be—those have a ballistic property. Audience: [cheering] Clint: You‘ll put an eye out! You‘ll put an eye out! Griffin: This is probably not allowed. Look at that. Clint: Don‘t forget the balcony, Travis. Justin: ―After Travis blinded an extremely litigious Austinite with his jawbreakers…‖ Travis: That‘s gonna be it. I have a lot more, but I‘ll just eat those during the show. Justin: ―It all fell apart after that.‖ Griffin: I wanna thank… Oh, shit. Travis: A good start. Justin: I hope everybody‘s getting psyched. Apparently halfway through, Dad‘s gonna run a fuckin marathon. Just like, blast the electrolytes. Clint: [laughs] Justin: ―What are you doing tonight Clint?‖ ―Uh, podcast and rugby for four hours, apparently.‖ Griffin: I‘m glad you guys dressed up for this. Travis: I didn‘t. Griffin: Oh. Audience: [laughs] Griffin: I was gonna say, I‘m confused why you decided to cosplay as Tingle, Travis Touchdown and M.
    [Show full text]
  • Legal Use Requires Purchase NOTES to the CONDUCTOR
    The Passage GORDON GOODWIN INSTRUMENTATION Conductor 1st Trombone 1st E Alto Saxophone 2nd Trombone b 2nd E Alto Saxophone (Optional Flute) 3rd Trombone b 1st B Tenor Saxophone Bass Trombone b 2nd B Tenor Saxophone Guitar Chords b E Baritone Saxophone Guitar b 1st Bb Trumpet (Flugelhorn) Piano 2nd B Trumpet (Flugelhorn) Bass b 3rd B Trumpet (Flugelhorn) Drums b 4th B Trumpet (Flugelhorn) Auxiliary Percussion b (Small Triangle, Suspended Cymbal, Vibraphone, Mark Tree) Preview Only Legal Use Requires Purchase NOTES TO THE CONDUCTOR It’s been a long time since I wrote an original big band ballad—not sure why I had neglected the style for so long. But as I was thinking about writing an alto sax feature for the great Eric Marienthal, I realized that he would sound fantastic on one. And once you hear his performance of this chart on our CD Life in the Bubble, you will no doubt agree. His performance includes obvious high points, such as his remarkable control and technique, but I am especially struck by his passion and commitment to the song. It seems that those Gordon qualities are more important when it comes to playing ballads than other styles. The audience wants to hear your emotions; they want Goodwin a glimpse into your heart. So, if you are playing the alto solo here, I recommend going all in. Commit to it. What does that mean for your playing? Only you can answer that question. For some, it means vibrato; for some, it means bends and scoops. For others, it means Gordon Goodwin started composing at the age playing with quiet empathy, or it means playing with energy and intensity.
    [Show full text]
  • For Immediate Release Rico Introduces Reserve
    FOR IMMEDIATE RELEASE RICO INTRODUCES RESERVE CLASSIC ALTO SAXOPHONE REEDS The NAMM Show, Anaheim, CA, January 13-16, 2011 (Booth #4834) – Rico is excited to announce that Reserve Classic Alto Saxophone reeds have been added to its line of Reserve Classic reeds. The Reserve Classic Alto Saxophone reeds are made from lower-internode cane which produces the most consistent tone of any reed currently on the market. The new Reserve Classic reeds feature a thicker blank that allows for more resonation as well as a profile that provides more flexibility than standard alto saxophone reeds. Reserve Classic Alto Saxophone reeds are available in strengths of 2.0 to 4.5. The Reserve Classic line also offers 3.0+ strength, making Reserve Classic the first line of reeds to offer this strength option for the alto saxophone. Buzz about the new Reserve Classic reeds for Alto Saxophone is already stirring from top artists: “Whether performing traditional saxophone quartet music or cutting-edge contemporary repertoire, Rico Reserve reeds provide us with exceptional reliability, response, and resonance,” enthuses Jeffrey J. Loeffert of the h2 Quartet. “The Reserve Classic Alto Saxophone reeds allow us to perform broad dynamic ranges, project in expressive passages, and facilitate our ability to blend.” “Rico’s new line of classical reeds gives the performer total confidence on stage,” says Dave Camwell, Assistant Professor of Saxophone and Jazz Studies at Simpson College. “The response, warmth of sound, or clarity of tone is simply sensational. I find the new Reserve Classic reeds to be in a league of their own.” “The Reserve Classic Alto Saxophone reeds were developed after receiving some great feedback from a diverse range of players,” says Rico Product Manager, Robert Polan.
    [Show full text]
  • If You Try Sometimes, You Just Might Find
    JERR’S JOURNAL November 18, 2013 If you try sometimes, you just might find . I’m a perfectionist. It means I always know what I want. But, so many times down the years, it hasn’t been what I’ve needed . * * * * * It was 1965 and time for Paul Simon to end his partnership with Art Garfunkel. Again. They’d been together off and on since 1955. When they released their first single in 1957 they were known as Tom & Jerry. “Hey, Schoolgirl” sold 100,000 copies and hit No. 49 on the Billboard charts. They performed the song on Dick Clark’s American Bandstand right after Jerry Lee Lewis belted out “Great Balls of Fire.” They were juniors in high school. That was about it for Tom & Jerry. Their recordings in 1958 tanked and the duo headed off to separate colleges. Five years later they found themselves in Greenwich Village, immersed in the burgeoning folk scene, and started performing together again. Columbia Records re- named them Simon & Garfunkel and in October 1964 released their first album, Wednesday Morning, 3 A.M. Another flop. In fact, one track, the original version of “The Sound of Silence,” actually became a topic of ridicule within the pop rock community. So Simon pulled the plug on the partnership again and left for England. He wanted to be a soloist, and in 1965 he released The Paul Simon Songbook . But fate had something else in store. * * * * * I recently finished Marc Eliot’s biography of Simon (Paul Simon: A Life ) and he describes what happened next.
    [Show full text]
  • 92 Downbeat June 2017 40Th Annual
    92 DOWNBEAT JUNE 2017 40TH ANNUAL Brightest The Best Student Musicians of 2017 JUNE 2017 DOWNBEAT 93 Theresa Chen of the Eastman School of Music earned an Outstanding Composition accolade at the Graduate College level in the category Original Composition–Small Ensemble. Welcome to the 40th Annual DownBeat Student Music Awards Eastman New Jazz Ensemble, Eastman School of Music, Rochester, New York THIS SECTION IS ALL ABOUT YOUNG problems are compounded by one person talent. The annual DownBeat Student or group’s inability to view an issue from Features Music Awards (SMAs) provide a show- another, opposing perspective, we should case for some of the world’s most talent- all take a moment to reflect on the values 100 JAZZ INSTRUMENTAL SOLOIST ed young musicians—from the junior that are promoted in a music classroom. high level all the way up to graduate col- As students are learning about the 106 LARGE JAZZ ENSEMBLE lege students. We are proud to highlight technical aspects of making music, they and encourage the musical endeavors of also learn about democracy, equality, col- 114 VOCAL JAZZ SOLOIST all our competitors. laboration, cooperation and the devel- For 40 years, the SMAs have been a opment of invididual contributions that 118 BLUES/POP/ROCK GROUP stepping stone for many of the world’s enhance the efforts of the collective. They greatest musicians. Among the notewor- also learn to respect colleagues who might 122 JAZZ ARRANGEMENT thy SMA competitors over the decades have different backgrounds and opinions are such major artists as Norah Jones, than they do.
    [Show full text]
  • Emily Merrell (801) 649.9550
    Emily Merrell (801) 649.9550 www.emvocals.com Education MM in Jazz Performance University of North Texas, 2012 Graduating GPA – 4.0 BM in Jazz Studies University of North Texas, 2010 Minor in Music Theory Graduating GPA – 3.953 Private Jazz Voice Lessons with Rosana Eckert: August 2008 – May 2012 Private Composition and Arranging Lessons with Rich DeRosa: August 2011 – May 2012 Private Classical Voice Lessons with Derek Chester, Monica Boldt, Jennifer Youngs: August 2005 – May 2012 Jazz Ensemble Direction under Paris Rutherford: August 2008 – August 2009 Jazz Ensemble Direction under Steve Wiest: May 2010 – August 2010 University Teaching Experience Adjunct Instructor – Commercial Music Commercial Music Division, Brigham Young University, August 2015 – May 2019 - Program and direct BYU Jazz Voices: 10-12 vocalists (men and women), and rhythm section (piano, bass, drums, guitar). Repertoire is selected from only the highest quality arrangers, and features a wide variety of jazz-subgenres including swing, latin, bebop, funk, fusion, and modern jazz hybrids. All students participate as ensemble members, and as improvising soloists. In addition to two “on-campus” performances per semester, BYU Jazz Voices perform frequently for “off-campus” events. - Teach private contemporary voice lessons to pre-music majors, and instrumental music majors. Adjunct Instructor – Contemporary Voice Department of Music, Utah Valley University, August 2014 – May 2019 - Present weekly lectures to vocalists in the commercial music department - Design lectures
    [Show full text]