CPFJ 2014 FALL CONCERT SERIES Rene Tim Grant Charenee
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Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Umass Fine Arts Center Concert Hall
umassumass finefine artsarts center center CENTERCENTER SERIESSERIES 2008–20092008–2009 1 1 2 3 2 3 playbill playbill 1 Paul Taylor Dance Company 11/13/08 2 Avery Sharpe Trio 11/21/08 3 Soweto Gospel Choir 12/03/08 1 Paul Taylor Dance Company 11/13/08 2 Avery Sharpe Trio 11/21/08 3 Soweto Gospel Choir 12/03/08 UMA021-PlaybillCover.indd 3 8/6/08 11:03:54 PM UMA021-PlaybillCover.indd 3 8/6/08 11:03:54 PM DtCokeYoga8.5x11.qxp 5/17/07 11:30 AM Page 1 DC-07-M-3214 Yoga Class 8.5” x 11” YOGA CLASS ©2007The Coca-Cola Company. Diet Coke and the Dynamic Ribbon are registered trademarks The of Coca-Cola Company. 2 We’ve mastered the fine art of health care. Whether you need a family doctor or a physician specialist, in our region it’s Baystate Medical Practices that takes center stage in providing quality and excellence. From Greenfield to East Longmeadow, from young children to seniors, from coughs and colds to highly sophisticated surgery — we’ve got the talent and experience it takes to be the best. Visit us at www.baystatehealth.com/bmp 3 &ALLON¬#OMMUNITY¬(EALTH¬0LAN IS¬PROUD¬TO¬SPONSOR¬THE 5-ASS¬&RIENDS¬OF¬THE¬&INE¬!RTS¬#ENTER 4 5 Supporting The Community We Live In Helps Create a Better World For All Of Us Allen Davis, CFP® and The Davis Group Are Proud Supporters of the Fine Arts Center! The work we do with our clients enables them to share their assets with their families, loved ones, and the causes they support. -
Too Many Notes: Complexity and Culture in Voyager Lewis, George E
Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
Great Jazz Imports From
N U.S. Jazz Label Directory Continued from page J -1 Cannonball Adderley, Thelonious thony Davis, James Newton, Ja- GREAT Monk, JAZZ Dave Brubeck, Eric Dolphy maaladeen Tacuma, Oliver Lake & stream and experimental titles by Jessica Williams, Phil Woods Quar- and many others. Original albums Jump Up, Bob Moses, Jay Hoggard tet, Cedar Walton and Dr. John. by these and other acts who re- and Tony Dagradi. corded for the three labels are Concord Jazz Inc., P.O. Box 845, Hannibal Records, Inc., 611 being included in a new midline, IMPORTS Concord, Calif. 94522. Tel: (415) Broadway, Suite 415, New York, launched earlier this year, in which 682 -6770. N.Y. 10012. Tel: (212) 420-1780. original cover art, liner notes and la- Mainstream jazz independent with Eclectic independent has released bel graphics have all been restored recent inroads into crossover ac- one multi -artist work, a tribute to under the Original Jazz Classics ceptance. Roster includes Jim Hall, Italian film music composer Nino Pii banner. Contemporary fusion and Rota, featured an array jazz FROM of top Al Cohn, L. A. Four, Herb Ellis, Scott mainstream releases are also re- names, and also records avant - Hamilton, - George Shearing, Lau leased on Fantasy, Milestone and rindo funk ensemble Defunkt. Almeida, Emily Remler and Galaxy, with artists including Sonny Tania Maria. BLACK SAINT /SOUL NOTE JMS Subsidiaries include Rollins, Azymuth, Ron Carter, Fred- Headfirst Records, Inc., 9000 Concord Picante (Latin, Caribbean die Hubbard, Red Garland, Johnny Sunset Blvd., Suite 611, Los An- ECM IMPORTS JAPO WATT and South American music) and geles, Calif. -
2-27-20 Avery Sharpe
400 An African American Musical Portrait Arrival Is There A Way Home Colonial Life Fiddler Antebellum A New Music Harlem and The War to End All Wars The Blues and World War II Ain’t Gonna Let Nobody Turn Me Around arrangement by Avery Sharpe 500 All compositions and arrangements by Avery Sharpe, accept Ain’t Gonna Let Nobody Turn Me Around traditional negro spiritual. Spoken word text by Sofia Rivera. Sponsored by the Williams College Departments of Music and Africana Studies. Thursday, February 27, 2020 7:30 p.m. Brooks-Rogers Recital Hall Williamstown, Massachusetts Please turn off or mute cell phones. No photography or recording is permitted. Personnel Avery Sharpe - bass Kevin Zhou ’20 - violin Samirah Evans - vocals Jeongyoon Han ’21 - violin Kris Allen - saxophones Andrew Rim ’20 - cello Tendai Muparutsa - djembe Theophyl Kwapong ’20 - voice Haneef Nelson - trumpet Morgan Whaley ’20 - voice Matt DeChamplain - piano Ashley Villarreal ’20 - voice Royal Hartigan - drums Jazmin Bramble ’20 - voice Bassist Avery Sharpe was born in Valdosta, Georgia and his first instrument was the piano. “I started playing when I was eight years old,” he recalls. “My mother is a piano player/choir director in the Church of God in Christ, and she gave lessons to everybody in the family—I’m the sixth of eight children—but it didn’t stick until it got to me.” He moved on to accordion and then switched to electric bass in high school, after his family had relocated to Springfield, MA. He studied economics at the University of Massachusetts, Amherst, MA., while he played electric bass in gospel, funk, and rock groups. -
2003 Festival Brochure
A Program of the Healdsburg Arts Council * Jessica Felix, Artistic Director 5th Annual Healdsburg Jazz Festival June 1-8, 2003 Abbey Lincoln, the last of the great jazz divas Jazz flute virtuoso James Newton and his Quartet Joe Lovano & Friends with guest vocalist Judi Silvano Bobby Hutcherson, George Cables, and Ray Drummond: Solos, Duos, Trios, and More. Gala dinner and concert featuring guitarist Julian Lage with Billy Hart and Ray Drummond INSIDE 5th Annual Healdsburg Jazz Festival Celebrating the jazz artform in Sonoma County’s lush vineyards and intimate theaters, just 65 miles north of San Francisco Pre-festival Kickoff Concert! Sunday, June 1 2p.m. Join us when we kickoff the 5th annual Healdsburg Jazz Festival at a free outdoor concert in Healdsburg Plaza in the heart of the downtown area, featuring Tacuma King and the Children’s Percussion Workshop, the Healdsburg High School Jazz Band, and the Khalil Shaheed Sextet. This high-energy, family friendly event reflects the festival’s ongoing commitment to nurturing the next generation of jazz players through its innovative jazz education programs. In recent years, Bay Area trumpeter Shaheed, the founder of the Oaktown Jazz Workshops, has delivered precious one-on-one mentoring and advice to members of the Healdsburg High School Jazz Band in two special after-school classes. Chicago-born Afro-Cuban percussionist King is a veteran of the Sun-Ra-Arkestra and the Deep Space Posse, and the founder of Sun Drummers of Urban Africa Ensemble. He is widely respected for his work with special needs children and at-risk youth. -
The Kitchen Presents a Power Stronger Than Itself: a Celebration of the Association for the Advancement of Creative Musicians Curated by George E
Press Contact: Blake Zidell & Associates tel: 718.643.9052 fax: 718.643.9502 [email protected] For Immediate Release The Kitchen presents A Power Stronger Than Itself: A Celebration of the Association for the Advancement of Creative Musicians Curated by George E. Lewis and Christopher McIntyre Two evenings of music, October 9 and 11, will include performances by Nicole Mitchell, Amina Claudine Myers, Muhal Richard Abrams, Matana Roberts, Craig Taborn, Chad Taylor and Wet Ink Panel discussion moderated by Christopher McIntyre and Book signing with George E. Lewis will take place prior to the October 11 concert New York, NY, September 11, 2008—In conjunction with the recent publication of George E. Lewis’s book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008), The Kitchen presents A Power Stronger Than Itself: A Celebration of the AACM, Thursday and Saturday, October 9 and 11. The Kitchen and Lewis—a composer, musician, former Kitchen music curator and long-time AACM member—will host two evenings of performances paying tribute to the seminal music collective, which has reconfigured the trajectory of music-making through its devotion to furthering artistic experimentation and its forward-thinking approach to composition, performance, improvisation and collectivity. The first concert, on Thursday, October 9, will feature Muhal Richard Abrams, Amina Claudine Myers and the ensemble Wet Ink performing the works of AACM composers. The second, on Saturday, October 11, will feature Nicole Mitchell, Matana Roberts, Craig Taborn, Chad Taylor and Wet Ink. Both concerts will take place at 8:00 P.M. -
Improvised Music After 1950: Afrological and Eurological Perspectives
Improvised Music after 1950: Afrological and Eurological Perspectives George E. Lewis Black Music Research Journal, Vol. 22, Supplement: Best of BMRJ. (2002), pp. 215-246. Stable URL: http://links.jstor.org/sici?sici=0276-3605%282002%2922%3C215%3AIMA1AA%3E2.0.CO%3B2-Y Black Music Research Journal is currently published by Center for Black Music Research - Columbia College Chicago. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/cbmr.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Tue Oct 9 15:15:54 2007 IMPROVISED MUSICAFTER 1950: AFROLOGICALAND EUROLOGICAL PERSPECTIVES GEORGEE. -
Roots and Folklore: Episodes in the Development of American Folk Music
Roots and Folklore: Episodes in the Development of American Folk Music [http://nightafternight.blogs.com/night_after_night/2006/09/even_more_recor.html] A performer, composer and educator born in Fort Worth, Texas and based for most of his career in Los Angeles, the late John Carter (1929-1991) spent the '80s crafting his magnum opus: "Roots and Folklore: Episodes in the Development of American Folk Music," a five-suite (or five-disc, if you prefer) cycle that encompasses the whole of the African-American musical experience, from its roots in tribal Africa through slavery, rural folk and blues traditions, gospel music and the birth of jazz. It's admittedly uneven, but majestic in both scope and achievement. Pressed to think of artists who attempted to create anything of similar scope, the only names that come readily to mind are Ellington and Mingus...and Wynton Marsalis, much later. The first disc, Dauwhe, was recorded in Los Angeles in 1982, and issued on Black Saint that year. By this point, Carter had laid down his alto saxophone to devote himself to clarinet, at a time when it was still unusual to do so - - Don Byron had yet to emerge. At Carter's side, then and always, was Bobby Bradford -- a sterling cornetist and, like Carter himself, a musician in the Ornette Coleman circle. (Bradford appears on Coleman's often- cited Science Fiction, and Carter and Bradford recorded a number of valuable Coleman-esque quartet records for Flying Dutchman in the '60s.) The rest of the band included Red Callender on tuba, flutist James Newton, reedist Charles Owens (on soprano sax, clarinet and oboe), bassist Roberto Miranda, drummer William Jeffrey and percussionist Luis Peralta. -
Jasmine Guy Starring In
JASMINE GUY STARRING IN FEATURING THE AVERY SHARPE TRIO Inspired by the classic 1923 novel "Cane" by Jean Toomer and works by other artists of the Harlem Renaissance WITH AVERY SHARPE, DIANE MONROE AND KEVIN SHARPE WRITTEN AND CONCEIVED BY HARRY CLARK ADAPTATION BY JASMINE GUY MUSIC COMPOSED AND ARRANGED BY AVERY SHARPE Friday, October 17, 2014 BAYLIN ARTISTS MANAGEMENT i Support for this program is provided by: Notional Endowment First Midwest Bank far Itw Aits BANK WITH MOMENTUM; /tMIDWESoT It was an exceptional time. It was our time. Raisin Cane Credits-Poems/Short Story Excerpts/Music 1920s. Harlem, New York, USA. POEMS/SHORT STORIES Gwendolyn Bennett To Usward (1924) In the American Black community, during the years leading up to the Harlem Renaissance, Gwendolyn Bennett Hatred (1926) there was a sense of building artistic expression. Outlets and avenues for its poets, mu- Countee Cullen Nothing Endures (1929) sicians, novelists, artists, and actors were few. But in 1918, as the first great World War Georgia Douglas I Want to Die While You Love Me (1928) concluded and thousands of African-American soldiers returned home victorious, this Langston Hughes Goodbye Christ (1932) Langston Hughes The Negro Speaks of Rivers, (1921) mountain of artistic expression was now ready to explode. Langston Hughes I, Too (1925) James Weldon Johnson 0 Southland (1922) The words and thoughts of Langston Hughes, Countee Cullen, Zora Neale Hurston, W.E.B. Claude McKay If We Must Die (1919) Dubois and many others, became the voice of a new generation of African-Americans Claude McKay The Tropics in New York (1920) Jean Toomer Kabnis, Cane, (1923) who were looking forward but still struggling with the past and present.