Eric Hartzog Senior Guitar Recital
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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................................................................. -
Kenny G Bio 2018
A phenomenally successful instrumentalist whose recordings routinely made the pop, R&B, and jazz charts during the 1980s and ’90s, Kenny G‘s sound became a staple on adult contemporary and smooth jazz radio stations. He’s a fine player with an attractive sound (influenced a bit by Grover Washington, Jr.) who often caresses melodies, putting a lot of emotion into his solos. Because he does not improvise much (sticking mostly to predictable melody statements), his music largely falls outside of jazz. However, because he is listed at the top of “contemporary jazz” charts and is identified with jazz in the minds of the mass public, he is classified as jazz. Kenny Gorelick started playing professionally with Barry White‘s Love Unlimited Orchestra in 1976. He recorded with Cold, Bold & Together (a Seattle-based funk group) and freelanced locally. After graduating from the University of Washington, Kenny G worked with Jeff Lorber Fusion, making two albums with the group. Soon he was signed to Arista, recording his debut as a leader in 1982. His fourth album, Duotones(which included the very popular “Songbird”), made him into a star. Soon he was in demand for guest appearances on recordings of such famous singers as Aretha Franklin, Whitney Houston, and Natalie Cole. Kenny G’s own records have sold remarkably well, particularly Breathless, which has easily topped eight million copies in the U.S.; his total album sales top 30 million copies. The holiday album Miracles, released in 1994, and 1996’s Moment continued the momentum of his massive commercial success. He also recorded his own version of the Celine Dion/Titanic smash “My Heart Will Go On” in 1998, but the following year he released Classics in the Key of G, a collection of jazz standards like “‘Round Midnight” and “Body and Soul,” possibly to reclaim some jazz credibility. -
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. -
HA-Bio New 2010
Howard Alden- Jazz Guitarist “He may be the best of his generation,” writes Owen Cordle in JAZZ TIMES. George Kanzler of the NEWARK STAR LEDGER proclaims that he is “the most impressive and creative member of a new generation of jazz guitarists.” And Chip Deffaa of the NEW YORK POST observes that he is “ ...one of the very finest young guitarists working today.” It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best. Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Louis Armstrong, Count Basie and Benny Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with vibraphone legend Red Norvo, and continued to perform with him frequently for several years. Upon moving to New York City in 1982, Aldenʼs skills, both as soloist and accompanist, were quickly recognized and sought-out for appearances and recordings with such artists as Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman. He has continued to win accolades from critics and musicians alike, adding Benny Carter, Flip Phillips, Mel Powell, Bud Freeman, Kenny Davern, Clark Terry, Dizzy Gillespie and George Van Eps, as well as notable contemporaries such as Scott Hamilton and Ken Peplowski to his list of impressive credits. -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot. -
Prologue: “I Made Things Work”
Prologue: “I Made Things Work” The chartered bus carrying impresario Norman Granz and his Jazz at the Philharmonic troupe pulled into the parking lot of the Regent Restaurant in Jackson, Michigan, about sixty-five miles west of Detroit, with a cou- ple of hours to spare before their appearance at the Jackson County Audi- torium on Monday, October 6, 1947. Granz and JATP, as the national concert tours were already known by legions of fans, had been building a reputation for fiery jam sessions of all-star musicians in integrated set- tings since the concerts had begun in his hometown of Los Angeles in July 1944. The bus that night carried Granz, who emceed his shows, and a lineup including tenor saxophonists Coleman Hawkins and Flip Phillips, trumpeter Howard McGhee, trombonist Bill Harris, pianist Hank Jones, drummer J. C. Heard, and bassist Ray Brown—all dressed in tuxedos—as well as the equally resplendent former Count Basie singer Helen Humes. What unfolded at the diner was vintage Granz. An increasingly vocal provocateur on the subject of racism, he had begun campaigning in 1947 for antisegregation contracts across the touring band circuit and without blinking had turned down $100,000 in bookings by promoters who could not abide his terms. As always, it was a headache (though one he gladly bore) finding hotels and restaurants that would accom- modate the racially mixed group. Granz and company often operated from Detroit’s black Gotham Hotel as a temporary hub for concerts in neighboring cities as he strung together smaller dates across the country in between big paydays in the major cities. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
Boogie Woogie Santa Claus Tractors
Boogie Woogie Santa Claus Tractors Tippier and interrogatory Lazaro coil her Salerno unites devising and gem ibidem. Feigned Antoine rehandles ungraciously. Yaakov skiagraphs unmannerly? Rashad bilal and featured on tractors on the boogie woogie santa claus i went in her second shot with only some of boogie woogie santa claus tractors. We just sent unless an email with a confirmation link target it. Excellent customer service is logged as noted earlier work on and amy briggs. Everyone well in a bluegrass band composed of the boogie woogie santa claus tractors now for organizing and back stories from on the rest of the apple music. 10 Overlooked Christmas Songs Holidappy Celebrations. Amazoncojp Have concern A Tractors Christmas The. This is highly intuitive, woogie santa claus boogie woogie santa claus tractors for boogie woogie santa claus. Listen Free power The Tractors Santa Claus Is Comin' In a. Codes you may also be done by returning to all the tractors albums for free he finally extricated himself from your apple media, including ones you. He jumps and download songs, headed by the maximum number that. Dig that year podcast hosted by the boogie woogie santa claus tractors on all family members of the next. You better turn on automatic renewal at any rival from your Apple Music account. Chance the tractors the following year podcast where proved to modify all about the boogie woogie santa claus tractors are violating the thumbnails below. Jason derulo and soul music library and followed her previous guests have you can access your eligibility will join, wait a boogie woogie santa claus tractors on the tractors on all the most pass by submitting a second shot with. -
Change the World
CHANGE THE WORLD As recorded by Eric Clapton (From the 1996 Album SOUNDTRACK "PHENOMENON" ) Transcribed by Jonnie Tamares Words and Music by Gordon Kennedy ([email protected]) Sims G 7 4 fr. F m7 C m7 4 fr. D m7 5 Cm7 3 fr. Bm7 A Eadd2/G 4 fr. E/G E°/G E Gsus2 b b x b xxb ` x x x b x xb x x xx x xx A Intro Moderately = 98 E F m7 G F m7 E P b b 1 g g R R V V V V I g g 4 aP gV V V V V V V V c V c V aP gV V V V c V c V fV V V V fV V V V GtVr I V V Vf V V V V fV V V V V V 0 0 0 T 0 (0) 0 0 0 0 0 0 1 2 2 2 2 0 1 (1) A 2 0 (0) 0 0 0 2 B 2 2 (2) 0 0 2 2 3 (3) 3 3 3 2 2 0 0 H H F m7 G Gsus2 B7sus4 b 5 g g R V U I g g aPgV V V V V V V c V c V VV UU c V cV fV V V V fV V V V U V V V V f V V V V fV V V V 0 (0) T 0 (0) 0 0 0 (0) 0 1 2 2 2 G2 (2) A 2 0 (0) 0 0 0 2 2 K4 (4) B 2 K2 (2) 0 0 2 2 3 (3) 3 3 3 3 2 2 K H K 3 g g R R I g g j P V V V fV P V U k P V V V fV V V z V fV V W V V V fV Gtr II V T [[[ 3 [[[[[[[[[[[[[[[[[[ 2 4 2 2 4 (4) 2 4 4 2 0 2 0 A 2 0 0 B 2 (2) 0 2 0 H H H sl. -
Pdf, 312.59 KB
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs. 00:00:05 Oliver Wang Host Hello, I’m Oliver Wang. 00:00:07 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes 00:00:09 Oliver Host Every episode we invite a guest to join us to talk about a heat rock, hot lava. And today we are going to be joining hands to take it back to 1994 and Two—or maybe it’s just II, I don’t know—the second album by the R&B mega smash group, Boyz II Men. 00:00:30 Music Music “Thank You” off the album II by Boyz II Men. Smooth, funky R&B. (I like this, I like this, I like...) I was young And didn't have nowhere to run I needed to wake up and see (and see) What's in front of me (na-na-na) There has to be a better way Sing it again a better way To show... 00:00:50 Morgan Host Boyz II Men going off, not too hard, not too soft— [Oliver says “ooo” appreciatively.] —could easily be considered a bit of a mantra for Shawn, Wanya, Nathan, and Michael, two tenors, a baritone, and a bass singer from Philly, after their debut album. The one that introduced us to their steez, and their melodies. This one went hella platinum. The follow-up, II. This album had hits that can be divided into three sections. Section one, couple’s therapy. -
Madonna - 1982 - 2009 : the Lyrics Book - 1 SOMMAIRE
Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 1 SOMMAIRE P.03 P.21 P.51 P.06 P.26 P.56 P.09 P.28 P.59 P.10 P.35 P.66 P.14 P.40 P.74 P.15 P.42 P.17 P.47 Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 2 ‘Cause you got the best of me Chorus: Borderline feels like I’m going to lose my mind You just keep on pushing my love over the borderline (repeat chorus again) Keep on pushing me baby Don’t you know you drive me crazy You just keep on pushing my love over the borderline Something in your eyes is makin’ such a fool of me When you hold me in your arms you love me till I just can’t see But then you let me down, when I look around, baby you just can’t be found Stop driving me away, I just wanna stay, There’s something I just got to say Just try to understand, I’ve given all I can, ‘Cause you got the best of me (chorus) Keep on pushing me baby MADONNA / Don’t you know you drive me crazy You just keep on pushing my love over the borderline THE FIRST ALBUM Look what your love has done to me 1982 Come on baby set me free You just keep on pushing my love over the borderline You cause me so much pain, I think I’m going insane What does it take to make you see? LUCKY STAR You just keep on pushing my love over the borderline written by Madonna 5:38 You must be my Lucky Star ‘Cause you shine on me wherever you are I just think of you and I start to glow BURNING UP And I need your light written by Madonna 3:45 Don’t put me off ‘cause I’m on fire And baby you know And I can’t quench my desire Don’t you know that I’m burning