Simon Phillips Protocol IV

Total Page：16

File Type：pdf, Size：1020Kb

ŚWIAT WIELKIEJ MUZYKI: SIMON PHILLIPS Z PROTOCOL IV W KRAKOWIE Jeden z najsłynniejszych perkusistów świata rocka i fusion – członek grupy Toto – Simon Phillips wystąpi ze swoją grupą Protocol IV w klubie Studio w sobotę 4 listopada 2017 o godz. 20:00! Phillips, najbardziej znany jako członek grupy TOTO, współpracował i nagrywał z wielkimi świata rocka, fusion i jazzu jak m. in.: Mick Jagger, The Who, Jeff Beck, Jack Bruce, Peter Gabriel, Stanley Clarke, Al Di Meola. Jego najnowszy projekt PROTOCOL IV wydaje się być sumą życiowych doświadczeń i wojaży po różnych stylach muzycznych. Więcej informacji można znaleźć na http://www.simon-phillips.com/the-band.php Podczas koncertu w klubie Studio na scenie pojawią się: Simon Phillips – perkusja Greg Howe - gitara W swojej 30-letniej karierze Greg Howe wydał dziewięć solowych albumów studyjnych oraz dwa albumy współpracując z Richie Kotzen’em z Winery Dogs. Ponadto Howe przyczynił się do powstania długiej listy albumów innych artystów, np. jako muzyk sesyjny nagrywał z gwiazdami pop: Michael Jackson, Justin Timberlake, Christina Aguilera, Rihanna, Enrique Iglesias. Ernest Tibbs – bas Muzycy, z którymi nagrywał to Natalie Cole, Dionne Warwick, Gladys Knight (musical Pani Lilly), James Ingram, Melba Moore, Eloise Laws i Debra Laws, Simon Phillips, Dean Brown, Harvey Mason, Scott Henderson, Andy Summers, Jeff Richman, Thom Rotella, David Benoit, David Garfield, Phil Upchurch, Dan Segal, Tom Scott, Mike Stern, Danny Gottlieb. Lista znanych nazwisk potwierdza wszechstronność Tibbsa. Otmaro Ruiz - klawisze Pianista, kompozytor. Wenezuelczyk uznawany jest za jednego z najważniejszych pianistów jazzowych, dzięki swojej wszechstronności i wirtuozerii. Intensywna kariera muzyczna wypełniona jest koncertami, warsztatami i nagraniami na całym świecie. Ruiz przez 5 lat pracował z Dianne Reeves jako pianista i dyrektor muzyczny. W tym okresie album wokalistki “In The Moment – Live in Concert” został nagrodzony Grammy. Za aranżacje przy produkcji ‘Garota de Ipanema” w 2016 roku był nominowany do Grammy. Otmaro z łatwością odnajduje się w różnych stylach, od jazzu do popu, rocka, od najbardziej bliskich mu salsy i afro do najbardziej ekscytującego fusion. Własny język wyraża na fortepianie akustycznym, jak i w elektronicznym świecie syntezatorów. Bilety w cenach 80/100 zł dostępne w: ticketpro.pl, InfoKraków ul. Św. Jana 2, biuro organizatora ul. Karmelicka 52/1. http://cracoviamusic.net/simon-phillips-krakowie/ http://www.simon-phillips.com/.

Copy Link

Recommended publications

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.
[Show full text]
Biography and Film of His Life
Phil Upchurch 1 A prolific guitarist whose distinctively funky, blues-steeped jazz style has graced well over a thousand recordings across the popular music spectrum, the legendary Phil Upchurch has also recorded 27 albums of his own leadership, as well as movie soundtracks. Jazz enthusiasts love and respect Phil Upchurch for his singular approach to composition. In developing his sound, Phil demonstrates no allegiance to any of his contemporaries and is indisputably one of the best in his field. He goes from classical to jazz to contemporary funk as easy as walking from one room to another. He is also an amazing electric bassist. In honor of Upchurch’s instrumental mastery, D’Angelico Guitars is soon to release a Second Edition of his signature Phil Upchurch Guitar. Adding to his media profile is Phil’s newfound second career as a fresh face for television advertising. Phil's most recent on-camera commercials have been Secured Horizon, "AARP," Tropicana and Verizon Wireless. He also has had, Cameo filmappearances in, “His Eyes Are Watching God” and White Men Can’t Jump” to name a few. Phil Upchurch has been a prominent figure in the blues, soul, R&B and jazz circles for more than 50 years. In addition to his work with the legendary Jimmy Smith, Upchurch has performed and recorded, in the United States and internationally, with some of the music industry’s biggest names. His talents have teamed him with musical legends such as Quincy Jones, Bob Dylan, Julio Iglesias, Ray Charles, Ramsey Lewis, Carmen McRae, George Benson, Donny Hathaway, Chaka Khan, Michael Jackson, Carmen McRae, Marlena Shaw, Eddie Harris, Brother Jack McDuff, Joe Williams, Stan Getz, Cannonball Adderley, Herbie Hancock, Grover Washington, Jr.
[Show full text]
Robert Walser Published Titles My Music by Susan D
Running With the Devil : Power, Gender, title: and Madness in Heavy Metal Music Music/culture author: Walser, Robert. publisher: Wesleyan University Press isbn10 | asin: 0819562602 print isbn13: 9780819562609 ebook isbn13: 9780585372914 language: English Heavy metal (Music)--History and subject criticism. publication date: 1993 lcc: ML3534.W29 1993eb ddc: 781.66 Heavy metal (Music)--History and subject: criticism. Page i Running with the Devil Page ii MUSIC / CULTURE A series from Wesleyan University Press Edited by George Lipsitz, Susan McClary, and Robert Walser Published titles My Music by Susan D. Crafts, Daniel Cavicchi, Charles Keil, and the Music in Daily Life Project Running with the Devil: Power, Gender, and Madness in Heavy Metal Music by Robert Walser Subcultural Sounds: Micromusics of the West by Mark Slobin Page iii Running with the Devil Power, Gender, and Madness in Heavy Metal Music Robert Walser Page iv WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 © 1993 by Robert Walser All rights reserved Printed in the United States of America 5 4 3 2 1 CIP data appear at the end of the book Acknowledgments for song lyrics quoted: "Electric Eye": Words and music by Glenn Tipton, Rob Halford, and K. K. Downing, © 1982 EMI APRIL MUSIC, INC. / CREWGLEN LTD. / EBONYTREE LTD. / GEARGATE LTD. All rights controlled and administered by EMI APRIL MUSIC, INC. International copyright secured. All rights reserved. Used by permission. "Suicide Solution": Words and music by John Osbourne, Robert Daisley, and Randy Rhoads, TRO© Copyright 1981 Essex Music International, Inc. and Kord Music Publishers, New York, N.Y.
[Show full text]
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
[Show full text]
The Guitar Institute Teacher and Soundtrack Doer Lindsey Boullt Has Come True a Life's Dream with This Album
Progressive Newsletter Review 092907 Lindsey Boullt – Composition (40:12, Privatpressung, 2007) Der Guitar Institute-Lehrer und Filmmusikmacher Lindsey Boullt hat sich mit diesem Album einen Lebenstraum erfüllt. Allein schon die einzigartige Gästeliste vermag allerdings auch höchste Erwartungen von Proghörern einzulösen: Hier geben sich Jerry Goodman (vln, u. a. The Flock, Mahavishnu Orchestra), Derek Sherinian (keyb., Ex-Dream Theater, Chroma Key, Planet X), Stu Hamm (bss, u. a. Joe Satriani, Steve Vai, Frank Gambale) und Atma Anur (drms, u. a. Tony MacAlpine, Richie Kotzen, Jason Becker, Cacophony, Doppler Inc., Greg Howe) ein Stelldichein. Doch „Composition“ ist mehr, als nur ein Projekt mit ganz großen Namen, es handelt sich hier Omen-mäßig eben auch um zwingende, geradezu in den Bann schlagende Kompositionen aus dem Umfeld Jazzrock, Progmetal und Weltmusik eindeutig orientalisch/indischer Prägung. Beispielsweise die Gitarren- (Tapping)/Keyboard-Duelle, die sich Boullt und Sherinian auf dem einleitenden „Page Revisited“ liefern, brauchen sich vor nichts auf dem legendären Shrapnel-Label Erschienenen zu verstecken. „Chasing the Whirling Dervish“ jagt überwiegend akustisch einen deutlich erkennbar aus der Mclaughlin-Zauberlampe entwichenen Dämon. Und bringt diesen mit Hilfe von Jerrys magischer Geige schließlich auch wunderbar zu einer Art von musikalischer Räson. Auf „Moving Panvishnu“ lässt derselbe Musikerhurricane das Barometer in die gleiche Richtung sacken, während Boullts Solo dann auf's Angenehmste Allan Holdsworth herbeizitiert. Stimmliche Beiträge vom in der Qawwali-/Sham Chorasi-Tradition singenden pakistanischen Künstler Sukhawat Ali Khan sind u. a. auf dem eindringlichen „Call for Peace“ vernehmlich. Stark anbefohlen für Fans von Mahavishnu, Shakti, Sherinian, The Flock, Curved Air. Erhältlich via iTunes, DigStation und www.lindseybullt.com/music.htm.
[Show full text]
Muddy Waters Electric Mud Mp3, Flac, Wma
Muddy Waters Electric Mud mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: Electric Mud Country: Canada Released: 1996 Style: Electric Blues, Chicago Blues MP3 version RAR size: 1257 mb FLAC version RAR size: 1625 mb WMA version RAR size: 1190 mb Rating: 4.8 Votes: 671 Other Formats: WMA MP1 MP4 AIFF WAV VOC DTS Tracklist 1 I Just Want To Make Love To You 4:14 2 I'm Your Hoochie Coochie Man 4:41 3 Let's Spend The Night Together 3:07 4 She's All Right 6:44 5 Mannish Boy 3:21 6 Herbert Harper's Free Press News 4:32 7 Tom Cat 3:37 8 The Same Thing 5:37 Companies, etc. Copyright (c) – MCA Records, Inc. Manufactured By – MCA Records (Canada) Distributed By – MCA Records (Canada) Credits Bass – Louis Satterfield Drums – Morris Jennings Engineer – Stu Black Guitar – Pete Cosey, Phil Upchurch, Roland Faulkner Organ – Charles Stepney Producer – Charles Stepney, Gene Barge, Marshall Chess Reissue Producer – Andy McKaie Tenor Saxophone – Gene Barge Vocals – Muddy Waters Notes Recorded at Ter Mar Studios, Chicago, May, 1968. Barcode and Other Identifiers Barcode: 0 76732 93642 9 Other versions Category Artist Title (Format) Label Category Country Year Cadet LPS 314, Muddy Electric Mud (LP, LPS 314, Concept, US 1968 LPS-314 Waters Album, Gat) LPS-314 Cadet Concept Cadet LPS 314, CC Muddy Electric Mud (LP, LPS 314, CC Concept, US 1978 314 Waters Album, RE) 314 Cadet Muddy Electric Mud (CD, CHD-9364 Chess CHD-9364 US 1996 Waters Album, RE) Muddy Electric Mud (CD, *CHD-9364 Chess *CHD-9364 US 1996 Waters Album, RE) Muddy Electric Mud (CD, MCA Records, UICY-3201 UICY-3201 Japan 2001 Waters Album, RE, RM) Chess Related Music albums to Electric Mud by Muddy Waters Muddy Waters / Memphis Slim - Chicago Blues Masters Volume One: Muddy Waters & Memphis Slim Howlin' Wolf - The Howlin' Wolf Album Muddy Waters - Electric Muddy Muddy Waters - Muddy, Brass & The Blues Gene Barge - Blowin' In The Wind Muddy Waters - Sail On Muddy Waters - The London Muddy Waters Sessions Muddy Waters - They Call Me Muddy Waters.
[Show full text]
Howlin Wolf 1991.Pdf
FOREFATHERS Howlin’ W olf JUNE 10,1910 - JANUARY 10,1976 BY PETER GURALNICK OWLIN’ WOLF WAS LARGER than life in every respect. As an entertainer, as an individual, and as a bluesman, he was outsized, unpredictable, and always his own man. He was a great blues singer who pos sessed that quality of egocentric self-absorption that is the mark of the true showman. To many people this may seem contradictory, but Wolf proved that to its natural audience blues is not all pain and suffering, but is instead a kind of re his voice that was his crowning glory, a voice which could lease. When you listen to the blues, you should be moved; fairly be called inimitable, cutting with a sandpaper rasp and doubtless you should take the deep blues of a singer like overwhelming ferocity but retaining at the same time a curi Muddy Waters or Howlin’ Wolf with the sense of dignity that ous delicacy of shading, a sense of dynamics and subtlety of is intended. You should also come away with a smile on your approach that set it off from any other blues singer’s in that lips. rich tradition. It combined the rough phrasing of Patton with Howlin’ Wolf was a totally enigmatic personality. He was the vocal filigree of Tommy Johnson and its familial descen a man at once complex, driven, and dant: the blue yodel of Jimmie altogether impossible to read. I think WOLF’S RIGHT HAND: Rodgers, a white country singer he was as much a mystery to his HUBERT SUMLIN, LEAD GUITAR whom Wolf always admired.
[Show full text]
Click Here to Continue
Premieres Sunday September 28 at 9pm on This interactive document contains printable pages, downloadable photography, a video sample, music samples, and a link to The Blues Web site at www.pbs.org/theblues. Note that you can elcome navigate this document using the table of contents and the navigation buttons on each page. W Click here to continue. This document automatically adjusts to the size of your screen. The view may be adjusted under the View menu. Click below to navigate What is the Blues? Series Release Fact Sheet About the Films Director and Producer Biographies Performances in The Blues Quotes for The Blues Volkswagen “Celebrates the Arts” Release Contents Photography Index Video Sample Music Samples www.pbs.org/theblues Home pbs.org/theblues By Jason Emmons and edited by Robert Santelli, Blues Historian and Director & CEO of Experience Music Project In 1903 W. C. Handy, the African American leader of a dance orchestra, got stuck one night waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep at the empty depot on a hard wooden bench. When he woke, a ragged black man was sitting next to him, singing about “goin’ where the Southern cross the Dog” and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered it with his guitar. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo & Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and he’d put it into a song.
[Show full text]
The Top 200 Greatest Funk Songs
The top 200 greatest funk songs 1. Get Up (I Feel Like Being a Sex Machine) Part I - James Brown 2. Papa's Got a Brand New Bag - James Brown & The Famous Flames 3. Thank You (Falletinme Be Mice Elf Agin) - Sly & The Family Stone 4. Tear the Roof Off the Sucker/Give Up the Funk - Parliament 5. Theme from "Shaft" - Isaac Hayes 6. Superfly - Curtis Mayfield 7. Superstition - Stevie Wonder 8. Cissy Strut - The Meters 9. One Nation Under a Groove - Funkadelic 10. Think (About It) - Lyn Collins (The Female Preacher) 11. Papa Was a Rollin' Stone - The Temptations 12. War - Edwin Starr 13. I'll Take You There - The Staple Singers 14. More Bounce to the Ounce Part I - Zapp & Roger 15. It's Your Thing - The Isley Brothers 16. Chameleon - Herbie Hancock 17. Mr. Big Stuff - Jean Knight 18. When Doves Cry - Prince 19. Tell Me Something Good - Rufus (with vocals by Chaka Khan) 20. Family Affair - Sly & The Family Stone 21. Cold Sweat - James Brown & The Famous Flames 22. Out of Sight - James Brown & The Famous Flames 23. Backstabbers - The O'Jays 24. Fire - The Ohio Players 25. Rock Creek Park - The Blackbyrds 26. Give It to Me Baby - Rick James 27. Brick House - The Commodores 28. Jungle Boogie - Kool & The Gang 29. Shining Star - Earth, Wind, & Fire 30. Got To Give It Up Part I - Marvin Gaye 31. Keep on Truckin' Part I - Eddie Kendricks 32. Dazz - Brick 33. Pick Up the Pieces - Average White Band 34. Hollywood Singing - Kool & The Gang 35. Do It ('Til You're Satisfied) - B.T.
[Show full text]
Kenney Polson Biography
Kenney Polson Biography Jazz saxophonist Kenney Polson is a distinguished musician, composer and educator. Currently based in the Pacific Northwest, he has lived and performed in over 50 countries. Known widely as a smooth jazz artist, his seasoned musical style incorporates Latin, classical, New Age, rhythm & blues, funk and gospel influences. Polson has appeared on U.S. television with jazz greats Kenny Burrell, Jimmy Heath, Phil Woods, David Sanborn and Wynton Marsalis, and on the popular “Show do Jimmy” show in Bogota, Colombia. He has performed live with Joe Williams, Gil Scott-Heron, Michael Henderson, Norman Connors, Bettye Swan and Lee Garrett. Polson’s smooth saxophone is well known in Pacific Northwest jazz haunts such as The Jazz Station in Eugene, Jack London Jazz Club in Portland, The Royal Esquire in Seattle and the 1905 Jazz Club in Portland. He has toured Japan, Korea, Hawaii, Colombia, Brazil, and over a dozen Caribbean Islands. In 2016 and 2017, he toured extensively with Rick James’ Original Stone City Band playing major festivals such as Capital City Jazz Festival on the East Coast and Orange County Funk Fest in California. With the Kenney Polson group and other ensembles, he has played the Stockton Smooth Jazz Festival, PDX Jazz Festival and Vanport Jazz Festival on the West Coast as well as Lassen College with Louis Price (Temptations). He also appeared at Festival del Caribe in Cartagena, Colombia. His ties to West Coast musicians remain strong. His upcoming album For Lovers Only (scheduled for 2019 release) includes leading players such as guitarist Bruce Conte and keyboardist Roger Smith (Tower of Power), trumpeter Larry Gittens (Kool & The Gang), guitarist Phil Upchurch (Donny Hathaway and George Benson), and smooth jazz pioneer - pianist Tom Grant.
[Show full text]
Super Unleaded the Most Fun, As Smooth Bubbly Strat Tones Meet Carvin’S GH24 Greg Howe Signature In-Between-Position Tele Cluck
amp. The three positions between the pickups are SUPER UNLEADED the most fun, as smooth bubbly Strat tones meet Carvin’s GH24 Greg Howe Signature in-between-position Tele cluck. These also happen to be the sounds that Howe has fter decades of jumping from one guitar extra clarity, warmth, and openness. The favored on his last few releases. A manufacturer to another, Greg Howe Kiesel Parallax neck pickup was designed with The GH24’s neck is great recently began working with Carvin (more the same idea in mind, but calibrated for the for athletic runs, acrobatic specifically, Kiesel) on a signature guitar. neck position under Howe’s supervision. Touch hammer-ons, and precision Carvin passed manufacture and sale of responsiveness was a big factor in crafting chording, and its slightly wide its guitars and basses to Kiesel Guitars. The these pickups. With the help of a user-friendly aspect grows on you. While the reason for the change isn’t immediately five-way pickup selector and master Volume clean sounds are spectacular, obvious, though it makes more sense if you and Tone controls, the GH24 is the physical the guitar excels with metal know that Carvin was founded in 1946 by embodiment of Greg’s tonal recipe. So with an saturation or bluesy grit and the late Lowell Kiesel. His offspring are arsenal of amps that included a Carr Bloke, a thrives in a live-band mix. responsible for the split, citing the need for Magnatone Twilighter, and a Bogner Gold- At the end of the day, the “greater growth.” The companies continue finger, it was time to get down to brass tacks.
[Show full text]
Medeski, Blackman Santana, Reid & Bruce Explore the Music of Tony
DOWNBEAT Steve Turre Preservation Hall Jazz Band @ 50 SPECTRUM R OA D // STEVE STEVE T URRE // P RE S ERVATION HALL JAZZ BAN D // Spectrum Road M ARY HALVOR ARY MEDESKI, BLACKMAN SANTANA, REID & BRUCE S ON EXPLORE THE MUSIC OF TONY WILLIAMS Guitar School Mary Halvorson John McLaughlin TRANSCRIBED JULY 2012 U.K. £3.50 Neil Haverstick MASTER CLASS J ULY Eric Revis 2012 BLINDFOLDED DOWNBEAT.COM JULY 2012 VOLUme 79 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
[Show full text]