Download Digital Booklet
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
Neville Brothers -- the first Family of New Orleans Music -- Has Vowed Not to Return to New Orleans
Dec. 15, 2005-- Cyril Neville boarded Amtrak's City of New Orleans train with a full head of steam. He joined singer-songwriter Arlo Guthrie earlier this month for the first leg of a 12-day journey from Chicago to New Orleans, playing concerts along the way to raise funds for victims of Hurricane Katrina. Neville, however, won't be on the train when it rolls into his old hometown. He won't be going home at all. Neville, 56, percussionist-vocalist and youngest member of the Neville Brothers -- the first family of New Orleans music -- has vowed not to return to New Orleans. During a heartfelt conversation before embarking on the train journey, Neville explained he and his wife, Gaynielle, have bought a home in Austin, Texas. Cyril Neville joins his nephew Ivan Neville, as well as the Radiators and the Iguanas as popular New Orleans acts who have settled in Austin. Some even perform in an ad hoc band known as the Texiles. They sing a different song about the promised recovery of New Orleans. "Would I go back to live?" Neville asked. "There's nothing there. And the situation for musicians was a joke. People thought there was a New Orleans music scene -- there wasn't. You worked two times a year: Mardi Gras and Jazz Fest. The only musicians I knew who made a living playing music in New Orleans were Kermit Ruffins and Pete Fountain. Everyone else had to have a day job or go on tour. I have worked more in two months in Austin than I worked in two years in New Orleans. -
2008 Irvin Mayfield NOJO Sig
THE SECREST AR T ISTS SERIES PRESENTS IRVI N MAYFIELD & T HE NOJO "NEW ORLEA NS LI VE!" This evening's program will be anno unced from the stage and will be presented without intermission. NOJQ R OSTER [rvin Mayfield, trumpet• Artistic Director Aaron Fletcher, alto sax Evan Christopher, alto sax and clarinet Ed Petersen, tenor sax Derek Douget, tenor sax Jason Marshall, baritone sax Ron Westray, trombone Mitch Butler, trombone Terram:e Taplin, trombone Barney Floyd, trumpet Leon Brown, trumpet Maurice Brown, trumpet Eric Lucero, trumpet Victor Atkins, piano Oavid Pulphus, bass Adonis Rose, drums Matt Dillon .... ........ Tour Manager Masanori Yura ...... ..Sound Engineer David Ampong ..... ..Sound Technician Irvin Mayfield and the NOJO appear by arr angement with Opus 3 Artists 470 Park Avenue South, 9th Floor North, New York NY L0016 www.opus3art ists.com BI OG RA PH Y FOR IR V IN MAYFIELD At only 30 years old, Irvin Mayfield has quickly estab- lished himself as one of the most decorated and re- corded Jazz musi- cians of his genera- tion. Mayfield is a versatile trumpeter, bandleader, cem- poser and arranger, recording artist, a passionate spokesman for the rich history and cultural significance of Jazz and the city that birthed it. Appointed the Cultural Ambassado r of the City of New Orleans in 2003 by the United States Senate, Congress and other governmental agencies, his name has become synonymous with the still-unfolding legacy of America's only indigenous music. Even after Katrina-especially after Katrina, which took the life of his father, Irvin Mayfield, Sr.-this tireless Renaissance man considers Jazz nothing less than the manifestation of all that American democracy represents . -
Japan Loves New Orleans's Music
University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2017 Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 William Archambeault University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Oral History Commons, and the United States History Commons Recommended Citation Archambeault, William, "Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017" (2017). Senior Honors Theses. 94. https://scholarworks.uno.edu/honors_theses/94 This Honors Thesis-Unrestricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Honors Thesis-Unrestricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 An Honors Thesis Presented to the Department of Interdisciplinary Studies of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Interdisciplinary Studies, with University High Honors and Honors in Interdisciplinary Studies by William Archambeault May 2017 Archambeault i Acknowledgments This undergraduate Honors thesis is dedicated to Travis “Trumpet Black” Hill, a New Orleans trumpeter who died in Tokyo, Japan, on May 4, 2015, while touring Japan. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record -
"Born in a Second Line": Glen David Andrews Shares New Orleans Musical Heritage with the World
COVER STORY "Born in a Second Line": Glen David Andrews shares New Orleans musical heritage with the world By Dean M. Shapiro Over a long, stellar career filled with honors, awards and international accolades, Glen David Andrews has just added another milestone to his list of accomplish- ments: his own namesake record label! The New Orleans born-and-raised trom- bonist and vocalist with possibly the most distinguished musical lineage in the city’s history, is touting his latest release, a digital album titled “Live in My Living Room” on the Glen David Andrews Records label (a subsidiary of Louisiana Red Hot Records). Recorded live in his French Quarter living room during the COVID-19 quarantine, the album is already making the rounds and available for downloading from Andrews’ Facebook page and website. Backed by the six-piece Glen David Andrews Band plus himself on vocals, Andrews penned five of the disc’s eight cuts. These include the lead track, “Treme Hideaway,” a tribute to a music club recently opened by his older brother, Grammy Award-winning drum- mer Derrick Tabb of the Rebirth Brass Band, in the city’s musically rich 6th Ward where the two of them grew up. As he explained in the accompanying liner notes, “This album was done to give you the experience of my live shows. Due to the current situation we couldn’t go in the studio to record this record, but nothing can stop the Spirit of the New Orleans musicians so we decided to record it live.” Despite being unable to perform in clubs, go on tour or play for special events, Andrews has not been idle. -
2008 State of New Orleans' Music Community Report
2008 State of New Orleans’ Music Community Report Copyright page Date, etc. Sweet Home New Orleans Board of Sweet Home New Orleans Staff Directors • Ali Abdin, Case Manager • Kim Foreman • Kate Benson, Program Director • Bethany Bultman • Aimee Bussells • Kat Dobson, Communications Director • Tamar Shapiro • Helene Greece, MSW, Social Worker • “Deacon” John Moore • Armand Richardson • Klara Hammer, Financial Director • Cherice Harrison-Nelson • Jordan Hirsch, Executive Director • Reid Wick • Lauren Anderson • James Morris, GSW, Director of Social Services • Scott Aiges • Lynn O’Shea, MNM, Director of Organizational • Tamara Jackson Development • Lauren Cangelosi • Joe Stern, Case Manager • David Freedman • Paige Royer (please alphabetize board list) (possible heading or title here) This report represents the culmination of three years of our direct service to New Orleans’ music community. Renew Our Music, founded as New Orleans Musicians Hurricane Relief Fund, began issuing relief checks to New Orleans artists while floodwaters still covered parts of the city. Sweet Home New Orleans evolved in 2006 to provide case management and housing assistance to the musicians, Mardi Gras Indians, and Social Aid & Pleasure Club members struggling to return to their neighborhoods. In 2008, these agencies merged to form a holistic service center for the music community, assisting with everything from home renovations to instrument repair. As of the third anniversary of the storm, we have distributed $2,000,000 directly to more than 2,000 of New Orleans’ cultural tradition bearers. Our case workers assess clients’ individual needs to determine how our resources, and those of our partnering agencies, can most effectively assist them in perpetuating our city’s unique music culture. -
Euphoria Brass Band, a San Diego Music Award 3 P.M
Summer Brass Funk Explosion! Saturday, July 27 Euphoria Brass Band, a San Diego Music Award 3 p.m. Winner, is an exciting and unique San Diego-based musical collective serving up a contemporary mix Library Lawn of old school New Orleans traditional brass band jazz, funky street beats and new school edginess with a West Coast feeling! Embracing the exciting spirit of jazz improvisation with hard edge funk, Limited seating is available, the critically acclaimed and award-winning feel free to bring your own lawn Euphoria Brass Band has become known for their chairs to enjoy the concert. incendiary high-energy shows! This Summer Festival Event is made possible by the Friends of the Library. ABOUT THE BAND Euphoria Brass Band is a critically acclaimed and award winning San Diego based musical collective that serves up a contemporary mix of old school New Orleans traditional brass band jazz, funky street beats and new school edginess with a West Coast feeling! Euphoria Brass Band has become a Southern California favorite, playing many high profile music venues, festivals, and parades. Euphoria Brass Band was awarded the 2019 San Diego Music Award in the Best Jazz category! EBB was created in 2011 by two New Orleans transplants, Ron Bocian and David Bandrowski and local jazz radio DJ, Drew Miller. They quickly assembled a top notch, hard-hitting horn section: Steve Ebner (trumpet), April West (trombone), David Jackson (tenor sax), JP Balmat (baritone & alto sax, clarinet) and Wayne Rice (sousaphone). Euphoria Brass Band is proud to have been nominated 5 years in a row for various San Diego Music Awards since their inception in 2011! EBB always leaves ‘em wanting more! Euphoria Brass Band has had the honor of sharing the stage with some of New Orleans music’s royalty: Dr. -
Happy International Jazz Day from New Orleans with Herbie Hancock!
scpr.org http://www.scpr.org/blogs/newmedia/2012/04/30/5853/happy-international-jazz-day-new- orleans-herbie-ha/ Happy International Jazz Day from New Orleans with Herbie Hancock! Only in New Orleans could you get hundreds of people to wake up early on a Monday morning for a jazz concert - especially after three days of intense music and partying for the first weekend of the 2012 New Orleans Jazz & Heritage Festival. Well, sort of. As Mayor Mitch Landrieu said in his brief remarks opening this sunrise concert kicking off the first-ever UNESCO International Jazz Day, people kept telling him that they couldn't believe all these folks woke up for this. "I say, 'We never went to bed!'" he quipped, only half-kidding. You can watch video of the entire event on the International Jazz Day site here. The day started at 6:30 a.m. with drummers and dancers on the cobbled ground of Congo Square in what is now Louis Armstrong Park, the very spot where drummers and dancers gathered generations ago, slaves on their day off, free people of color and others drawing on the African and Haitian traditions they'd brought along the way. Over time, that developed into more elaborate musical forms, taken up by the pianists entertaining in the brothels and parlors of the neighboring Storyville development around the turn of the 20th century, and then out to the streets with the brass bands. That became jazz, and this very spot was its birthplace. The full evolution of the form played out in the course of the next hour. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories. -
Friends of WWOZ Board of Directors Meeting May 9, 2012 General Manager's Report
Friends of WWOZ Board of Directors Meeting May 9, 2012 General Manager's Report 1. 2012 New Orleans Jazz & Heritage Festival Coverage. Once again, WWOZ provided start-to-finish broadcast and webcast coverage of this year’s New Orleans Jazz & Heritage Festival. And once again, the station’s remote production krewe headed by Program Director Dwayne Breashears and Chief Engineer Damond Jacob provided live feeds to seventeen stations around the country, including KUVO (Denver), KVJZ (Vail), WUSM, Hattiesburg, MS, KPOV, Bend, OR, KDHX, St Louis, MO, CIUT, Toronto, Canada, KFCF, Fresno, CA, WNCU, Durham, NC, WCLK, Atlanta, GA, KMUD, Garberville, CA, KMUE, Eureka ,CA, KLAI, Laytonville/Shelter Cove, CA, WPFW, Washington, DC, KGOU, Norman, OK, KROU Spencer/Oklahoma City, KOUA, Ada, OK, KWOU, Woodward, OK. A small broadcast crew and more than 100 volunteers handled WWOZ’s multiple Jazz Fest activities ranging from broadcast, to membership/brass pass distribution, WWOZ Mango Freeze sales, Piano Night, and night time broadcasts from local clubs. Broadcast Krewe: The broadcast crew included George Ingmire, Bradley Blanchard, Jerry Lenaz, SherriLynn Colby-Bottel, David Kunian, Dimitri Apessos, Linda Santi, Olivia Greene, and many more. Engineering Krewe: The engineering crew included Tony Guillory, Robert Carroll, Khalid Hafiz, and Susan Jacob. Volunteer Power: Veronica Cromwell, Bill Insley, Leslie Cooper, Elsie Bunny Walker, Mary Lambert, Marie MacAdory, Paige Patriarca, Ruth Marinello, Jerry Lenaz, Heather McGlynn, Linz Adams, Mary Naughton, Christy Grimes, Ron Clingenpeel, Lance Albert, Rick Wilkof, Eric Ward, Duane Williams, Melissa Gemeinhardt, Christy Carney, Duane Williams, Betty Schlater, Melissa DeOrazio, Matthew De Orazio, Craig Christopher, Steve Daub, and many more.