SELECTED VCU JAZZ-RELATED ALUMNI ACCOMPLISHMENTS 2020-21: • the 85Th Annual Down Beat Reader’S Poll Emerges in December to Showcase a Number of VCU-Related Artists
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Bob James and Nancy Stagnitta "In the Chapel in the Moonlight"
Interlochen, Michigan * Bob James and Nancy Stagnitta "In the Chapel in the Moonlight" Saturday, March 4, 2017 2:30pm, Dendrinos Chapel/Recital Hall 7:30pm, Dendrinos Chapel/Recital Hall PROGRAM Nancy Stagnitta, flute Bob James, piano Side A Dancing on the Water ............................................................................................ Bob James Air Apparent .................................................................... Johann Sebastian Bach/Bob James J.S. Bop ................................................................................................................. Bob James Quadrille ................................................................................................................ Bob James Heartstorm ............................................................................................................. Bob James ~ BRIEF PAUSE ~ Side B Smile .............................................................................................................. Charlie Chaplin The Bad and the Beautiful .................................................................................. David Raksin Iridescence ............................................................................................................ Bob James Bijou/Scrapple from the Chapel ................................................... Bob James/Nancy Stagnitta Odyssey ................................................................................................................. Bob James All compositions arranged by Bob -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
P:\Pag\20220528\Summer\Section\T\15
TRAVERSE CITY RECORD-EAGLE SUMMER GUIDE 2004 15 NITELIFE GUIDE Jazz composer expands creations, talents BY MARTA HEPLER DRAHOS theme to the ‘70s television myself,” he says — it did Record-Eagle staff writer show “Taxi,” two Grammys inspire his latest venture, and a Lifetime Achievement With his international The Bob James Art of Wine Award from the Smooth career firmly entrenched, Collection. Launched in Jazz Association of Bob James could live any- 2002 after a chance meeting America, and several Gold where in the world. with Australian beverage Records. But Traverse City is where entrepreneur Chris Payne, These days he spends the jazz pianist and compos- the signature collection fea- about half his time perform- er feels a creative vibe. tures James’ distinctive art ing in the U.S., Europe and “We like privacy, peace on its labels. Asia, and the other half and quiet,” said James, who So far the collection con- recording in various set- has vacationed in the area sists of three wines from tings. Never one to focus on for more than 20 years. “I Down Under, including a single project when he think there’s a feeling we “Smooth Chardonnay,” win- could be working on three get here, there’s an escape ner of a silver medal at the or four, he laid down tracks aspect to it.” first U.S. Starwine for a new album with his Since purchasing part of International Wine jazz super-group Fourplay the Long Lake retreat estate Competition in in February, the same of meat company magnate J. Philadelphia in March. -
Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
Joe Alterman
Joe Alterman "When listening to Joe Alterman perform, it is obvious that he has studied the history of jazz piano. However, his own style of playing is appealing, challenging and quite satisfying." — Ramsey Lewis "Joe is a true inspiration to me. He is a part of the next generation of great jazz musicians who care and he is going to go somewhere with his music."— Les McCann "Joe has a great sense of what is most meaningful in the history and tradition of our music, and a real solid musical vision of where he wants to take it.” — Houston Person "Talk about the joy of jazz!...It's a pleasure to hear this music...You've got it!" — Nat Hentoff, from "Joe Alterman Strikes A Chord," published in the Wall Street Journal on May 1, 2013 "The new Harry Connick.” — Linda Lorence Critelli, vice president, SESAC For more information, please visit www.joealtermanmusic.com For booking inquiries or to contact Joe directly, please email [email protected] In a recent feature on Joe Alterman in the Wall Street Journal, legendary writer Nat Hentoff wrote, “'Talk about the joy of jazz!...It's a pleasure to hear this music'…You've got it!” Born and raised in Atlanta, Georgia, Alterman moved to New York in the fall of 2007 to study music at New York University, where he also earned his Master’s Degree in Music. While there, he had the opportunity to study with greats including Don Friedman, Joe Lovano and John Scofield. He has performed at venues around the world including the Blue Note Jazz Club in Milan, Blues Alley in Washington, DC, and Preservation Hall in New Orleans; he has led groups at venues in New York City including the Blue Note Jazz Club, the Iridium, the Kitano, and Dizzy’s Club Coca-Cola, among others. -
May • June 2013 Jazz Issue 348
may • june 2013 jazz Issue 348 &blues report now in our 39th year May • June 2013 • Issue 348 Lineup Announced for the 56th Annual Editor & Founder Bill Wahl Monterey Jazz Festival, September 20-22 Headliners Include Diana Krall, Wayne Shorter, Bobby McFerrin, Bob James Layout & Design Bill Wahl & David Sanborn, George Benson, Dave Holland’s PRISM, Orquesta Buena Operations Jim Martin Vista Social Club, Joe Lovano & Dave Douglas: Sound Prints; Clayton- Hamilton Jazz Orchestra, Gregory Porter, and Many More Pilar Martin Contributors Michael Braxton, Mark Cole, Dewey Monterey, CA - Monterey Jazz Forward, Nancy Ann Lee, Peanuts, Festival has announced the star- Wanda Simpson, Mark Smith, Duane studded line up for its 56th annual Verh, Emily Wahl and Ron Wein- Monterey Jazz Festival to be held stock. September 20–22 at the Monterey Fairgrounds. Arena and Grounds Check out our constantly updated Package Tickets go on sale on to the website. Now you can search for general public on May 21. Single Day CD Reviews by artists, titles, record tickets will go on sale July 8. labels, keyword or JBR Writers. 15 2013’s GRAMMY Award-winning years of reviews are up and we’ll be lineup includes Arena headliners going all the way back to 1974. Diana Krall; Wayne Shorter Quartet; Bobby McFerrin; Bob James & Da- Comments...billwahl@ jazz-blues.com vid Sanborn featuring Steve Gadd Web www.jazz-blues.com & James Genus; Dave Holland’s Copyright © 2013 Jazz & Blues Report PRISM featuring Kevin Eubanks, Craig Taborn & Eric Harland; Joe No portion of this publication may be re- Lovano & Dave Douglas Quintet: Wayne Shorter produced without written permission from Sound Prints; George Benson; The the publisher. -
TRISHA BROWN DANCE COMPANY Ili Trilogy
THÉÂTRE DES CHAMPS-ÉLYSÉES TRISHA BROWN DANCE COMPANY iLI Trilogy Trisha Brown, chorégraphie Dave Douglas, musique 16 au 19 novembre 2000 Document de communication du Festival d'Automne à Paris - tous droits réservés Trisha Brown Dance Company EL TRILOGY Five Part Weather Invention Rupture to Leon James Groove and Countermove Trisha Brown, chorégraphie Dave Douglas, musique Terry Winters, décors et costumes Jennifer Tipton, lumières Jeudi 16, vendredi 17, samedi 18, dimanche 19 novembre 2000, 20h dimanche 19 novembre 2000, 15h 5 représentations Service de presse - Nathalie Sergent Tél :01 49 52 50 70 - Fax :01 49 52 07 41 e-mail : [email protected] Document de communication du Festival d'Automne à Paris - tous droits réservés El Trilogy Depuis le début des années 1970 et la création de sa compagnie, Trisha Brown n'a cessé d'influencer le ballet contemporain, proposant un vocabu- Renseignements pratiquesp. 4 laire chorégraphique réinventé à chaque uvre. Ces dernières années, elle a entamé un cycle illustrant les relations de la danse et de la musique. Inaugu- Five Part Weather Inventionp. 5 rées par une pièce sur L'Offlande musicale de Bach, ses recherches se sont Rupture to Leon Jamesp. 6 Groove and Countermovep. 7 poursuivies avec les quatuors à cordes de Webern puis avec sa magnifique mise en scène de L'Orfeo de Monteverdi (créée à la Monnaie de Bruxelles au Trisha Brown, à propos d'El Trilogyp. 8 printemps 1998 et présentée par la suite entre autres au festival d'Aix-en- El Jubilation Trilogy, par Denise Luccionip. 10 Provence et au Théâtre des Champs-Élysées). -
A Journal for Contemporary Music (1971-1988)
Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally. -
David S. Ware in Profile
Steve Coleman: The Most Influential Figure Since Coltrane? AMERICA’s JAZZ MAGAZINE Win a Trip for Two on The Jazz Cruise! TBetweenia Fuller Bop&Beyoncé David S. Ware Fred Ho in Profile His Harrowing BY DAVID R. ADLER Fight Against Cancer Before & After Lee Konitz Nate Chinen on Kirk Whalum John Ellis A $250,000 Turntable? Audiophile Gear to Die For Stan Getz & Kenny Barron Reviewed 40 JAZZTIMES >> JUNE 2010 A f te r the here were torrential rains, and gusts up to 60 miles per hour, on the night in mid- March when saxophone icon David S. Ware played solo before an intimate crowd in Brooklyn. Seated in the cozy home office of host Garrett Shelton, a music industry con- sultant, Ware began with an assertive, envel- Still coping with the oping improvisation on sopranino—a new Thorn in his arsenal—and followed it with an S toaftermath of a rkidney m extended tenor display, rigorously developed, with mounting sonic power. transplant, David S. Ware After he finished, Ware played up the salon-like atmosphere by inviting questions forges ahead with solo from listeners. Multi-instrumentalist Cooper- Moore, Ware’s good friend and one-time saxophone, a new trio roommate, who (like me) nearly missed the show on account of a subway power outage, and a return to the Vision was among the first to speak. He noted that the weather was also perfectly miserable on Festival this summer Oct. 15, 2009, the night of Ware’s previous solo concert. So one had to wonder, “What’s goin’ on with you, man?” Laughing, Ware By David R. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Theory and Interpretation of Narrative James Phelan, Peter J
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU THEORY AND INTERPRETATION OF NARRATIVE JAMES PHELAN, PETER J. RABINOWITZ, AND ROBYN WARHOL, SERIES EDITORS FOR VANESSA, MAX, AND MILLY THE RETURN OF THE OMNISCIENT NARRATOR Authorship and Authority in Twenty-First Century Fiction PAUL DAWSON THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dawson, Paul, 1972– The return of the omniscient narrator authorship and authority in twenty-first century fiction / Paul Dawson. pages cm—(Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-1233-2 (cloth : alk. paper) ISBN-10: 0–8142– 1233–6 (cloth : alk. paper) 1. Fiction—Technique. 2. Omniscience (Theory of knowledge) in literature. 3. Narration (Rhetoric) I. Title. II. Series: Theory and interpretation of narrative series. PN3355.D246 2013 808.3—dc23 2013031509 Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Sabon Printed by Sheridan Books, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments vii Introduction The Return of Omniscience in Contemporary Fiction 1 CHaptER 1 Omniscience and Narrative Authority 25 CHaptER 2 The Direct Address and the Ironic