Hymn of the Orient: Play the Melody Once and Solo Over the Changes One Time

Total Page:16

File Type:pdf, Size:1020Kb

Hymn of the Orient: Play the Melody Once and Solo Over the Changes One Time General Audition Requirements: 1.) You’ve Changed (Ballad): Play melody one time. This is a Concert lead sheet. You will need to transpose for your instrument if needed. 2.) Hymn Of The Orient: Play the melody once and solo over the changes one time. Music provided for Concert, Bass Clef, Bb, and Eb instruments. * This will be a FaceTime or Zoom audition with Gil. A 10 minute time slot will be set up for your audition. From CLIFFORD BROWN MEMORIAL ALBUM / Clifford Brown (Blue Note BLP 1526) First released on 10" LP CLIFFORD BROWN - New Star On The Horizon (Blue Note BLP 5032) C lead sheet Hymn Of The Orient Uptempo swing ( = ca. 242) GIGI GRYCE Intro (rhythm section) Piano Bass arco legato 2-feel Drum fill A 4-feel 1 2 B C 1 to solos to D 2 last time fine D 1st soloist break jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC Hymn Of The Orient (Gigi Gryce) page 2 - C lead sheet Solos 1st chorus of each soloist E 1 2 F G soloist continues* after last soloist to 1 shout chorus 1 shout chorus 1 2 D.S. al fine * for additional choruses, use melody chord progression ( A through C ). jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC From CLIFFORD BROWN MEMORIAL ALBUM / Clifford Brown (Blue Note BLP 1526) First released on 10" LP CLIFFORD BROWN - New Star On The Horizon (Blue Note BLP 5032) C lead sheet Hymn Of The Orient Uptempo swing ( = ca. 242) GIGI GRYCE Intro (rhythm section) A 4-feel 1 2 B C 1 to solos to D 2 last time fine D 1st soloist break jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC Hymn Of The Orient (Gigi Gryce) page 2 - C lead sheet Solos 1st chorus of each soloist E 1 2 F G soloist continues* after last soloist to 1 shout chorus shout chorus 1 1 2 D.S. al fine * for additional choruses, use melody chord progression ( A through C ). jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC From CLIFFORD BROWN MEMORIAL ALBUM / Clifford Brown (Blue Note BLP 1526) First released on 10" LP CLIFFORD BROWN - New Star On The Horizon (Blue Note BLP 5032) B lead sheet Hymn Of The Orient Uptempo swing ( = ca. 242) GIGI GRYCE Intro (rhythm section) A 4-feel 1 2 B C 1 to solos to D 2 last time fine D 1st soloist break jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC Hymn Of The Orient (Gigi Gryce) page 2 - B lead sheet Solos 1st chorus of each soloist E 1 2 F G soloist continues* after last soloist to 1 shout chorus 1 shout chorus 1 2 D.S. al fine * for additional choruses, use melody chord progression ( A through C ). jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC From CLIFFORD BROWN MEMORIAL ALBUM / Clifford Brown (Blue Note BLP 1526) First released on 10" LP CLIFFORD BROWN - New Star On The Horizon (Blue Note BLP 5032) E lead sheet Hymn Of The Orient Uptempo swing ( = ca. 242) GIGI GRYCE Intro (rhythm section) A 4-feel 1 2 B C 1 to solos to D 2 last time fine D 1st soloist break jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC Hymn Of The Orient (Gigi Gryce) page 2 - E lead sheet Solos 1st chorus of each soloist E 1 2 F G soloist continues* after last soloist to 1 shout chorus 1 shout chorus 1 2 D.S. al fine * for additional choruses, use melody chord progression ( A through C ). jazzleadsheets.com Copyright © 1956 (renewed 1984), 2008 TWENTY-EIGHTH STREET MUSIC.
Recommended publications
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Spilleliste: Åtti Deilige År Med Blue Note Foredrag Oslo Jazz Circle, 14
    Spilleliste: Åtti deilige år med Blue Note Foredrag Oslo Jazz Circle, 14. januar 2020 av Johan Hauknes Preludium BLP 1515/16 Jutta Hipp At The Hickory House /1956 Hickory House, NYC, April 5, 1956 Jutta Hipp, piano / Peter Ind, bass / Ed Thigpen, drums Volume 1: Take Me In Your Arms / Dear Old Stockholm / Billie's Bounce / I'll Remember April / Lady Bird / Mad About The Boy / Ain't Misbehavin' / These Foolish Things / Jeepers Creepers / The Moon Was Yellow Del I Forhistorien Meade Lux Lewis, Albert Ammons & Pete Johnson Jumpin' Blues From Spiritals to Swing, Carnegie Hall, NYC, December 23, 1938 BN 4 Albert Ammons - Chicago In Mind / Meade "Lux" Lewis, Albert Ammons - Two And Fews Albert Ammons Chicago in Mind probably WMGM Radio Station, NYC, January 6, 1939 BN 6 Port of Harlem Seven - Pounding Heart Blues / Sidney Bechet - Summertime 1939 Sidney Bechet, soprano sax; Meade "Lux" Lewis, piano; Teddy Bunn, guitar; Johnny Williams, bass; Sidney Catlett, drums Summertime probably WMGM Radio Station, NYC, June 8, 1939 Del II 1500-serien BLP 1517 Patterns in Jazz /1956 Gil Mellé, baritone sax; Eddie Bert [Edward Bertolatus], trombone; Joe Cinderella, guitar; Oscar Pettiford, bass; Ed Thigpen, drums The Set Break Van Gelder Studio, Hackensack, NJ, April 1, 1956 BLP 1521/22 Art Blakey Quintet: A Night at Birdland Clifford Brown, trumpet; Lou Donaldson, alto sax; Horace Silver, piano; Curly Russell, bass; Art Blakey, drums A Night in Tunisia (Dizzy Gillespie) Birdland, NYC, February 21, 1954 BLP 1523 Introducing Kenny Burrell /1956 Tommy Flanagan,
    [Show full text]
  • ART FARMER NEA Jazz Master (1999)
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • New Jazz Label Discography
    New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With
    [Show full text]
  • Gigi Gryce Nica's Tempo Mp3, Flac, Wma
    Gigi Gryce Nica's Tempo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Nica's Tempo Released: 2013 Style: Hard Bop, Swing MP3 version RAR size: 1682 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1610 mb Rating: 4.4 Votes: 939 Other Formats: MMF WMA TTA MIDI RA DXD DMF Tracklist 1 Speculation 4:08 2 In A Meditating Mood 4:25 3 Social Call 2:44 4 Smoke Signal 3:40 5 (You'll Always Be) The One I Love 3:27 6 Kerry Dance 3:00 7 Shuffle Boil 5:01 8 Brake's Sake 4:45 9 Gallop's Gallop 5:28 10 Nica's Tempo 6:09 Other versions Category Artist Title (Format) Label Category Country Year Gigi Gryce · Thelonious Monk · Percy Heath · Art Gigi Gryce · Blakey · Horace Silver · Art Thelonious Monk · Farmer · Kenny Clarke · Percy Heath · Art Cecil Payne · Jimmy Blakey · Horace Cleveland · Oscar Pettiford Silver · Art · Julius Watkins - Gigi S1201, S Signal , S1201, S Farmer · Kenny Gryce · Thelonious Monk · US 1955 1201 Signal 1201 Clarke · Cecil Percy Heath · Art Blakey · Payne · Jimmy Horace Silver · Art Farmer Cleveland · Oscar · Kenny Clarke · Cecil Pettiford · Julius Payne · Jimmy Cleveland · Watkins Oscar Pettiford · Julius Watkins (LP, Album, Mono) Gigi Gryce (LP, Album, S 1201 Gigi Gryce Signal S 1201 US 1955 Mono) BYG BYG Thelonious Monk, Gigi BYG Thelonious Monk, Records, 529153, Gryce - Nica's Tempo (LP, 529153, France 1969 Gigi Gryce BYG 529.153 Album, RE) 529.153 Records Thelonious Monk & Gigi Thelonious Monk RM 52223 Gryce - Nica's Tempo (LP, CBS RM 52223 UK 1966 & Gigi Gryce Album, Mono, RE) The Orchestra* And The The Orchestra* UK, Quartet Of Gigi Gryce* - Savoy Jazz CY-18057 And The Quartet CY-18057 Europe & 1998 Nica's Tempo (CD, Album, Classics Of Gigi Gryce* US RE, RM) Related Music albums to Nica's Tempo by Gigi Gryce Gigi Gryce - Duke Jordan - Hall Overton - Signals Art Farmer - When Farmer Met Gryce Thelonious Monk, Phil Woods, Jimmy Cleveland, Max Roach - I Giganti Del Jazz Vol.
    [Show full text]
  • Success at College Jazz & General Music Auditions
    Success at College Jazz & General Music Auditions: Process Practical advice by Jeff Rupert,Director of Jazz Studies, University of Central Florida Prior to an Audition Minority by Gigi Gryce. Minor and major tonalities, ter- It’s okay for a student to email or call a director/audition- tian harmony. er to ask for specifics. Check the website first; they will Softly as in a Morning Sunrise allows for modal ap- most likely be directed there. proaches on the A sections, with tertian harmony on the Be leery if the student is not invited on campus prior to bridge. the audition. Yardbird Suite by Charlie Parker. Major harmony on the A sections, minor tonalities using a minor chord as a i or Day of the Audition: What To Expect ii chord on the bridge. Usually there is some sort of general meeting prior to au- Half Nelson. Great tune for tertian harmony and decep- ditions. Parents get information. Often there are adminis- tive cadences. trators and counselors there to answer varied questions. Joy Spring by Clifford Brown. Cadential harmony in three keys. The Simple Things Get a Student Off To a Good Start! Set up and warm up prior to entering audition. Scale Studies Dress neatly. Major Shake hands and look people in the eye. Minor (jazz “melodic” and harmonic) Blow/play a couple notes – it’s okay! Get to business. Optional but Important Bebop Scales 7th scale The Audition Bebop major The audition itself is usually short (10 minutes). Bebop minor (Barry Harris refers to this as the minor 6 Auditions include a prepared piece or two.
    [Show full text]
  • I a COMPARATIVE STUDY of the JAZZ TRUMPET STYLES of CLIFFORD BROWN, DONALD BYRD, and FREDDIE HUBBARD an EXAMINATION of IMPROVISA
    A COMPARATIVE STUDY OF THE JAZZ TRUMPET STYLES OF CLIFFORD BROWN, DONALD BYRD, AND FREDDIE HUBBARD AN EXAMINATION OF IMPROVISATIONAL STYLE FROM 1953-1964 by JAMES HARRISON MOORE Bachelor of Music, West Virginia University, 2003 Master of Music, University of the Arts, 2006 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 i UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by James Harrison Moore It was defended on March 29, 2012 Committee Members: Dean L. Root, Professor, Music Mathew Rosenblum, Professor, Music Lawrence Glasco, Professor, History Dissertation Advisor: Nathan T. Davis, Professor, Music ii Copyright © by James Harrison Moore 2012 iii Nathan T. Davis, PhD A COMPARATIVE STUDY OF THE JAZZ TRUMPET STYLES OF CLIFFORD BROWN, DONALD BYRD, AND FREDDIE HUBBARD: AN EXAMINATION OF IMPROVISATIONAL STYE FROM 1953-1964. James Harrison Moore, PhD University of Pittsburgh, 2012 This study is a comparative examination of the musical lives and improvisational styles of jazz trumpeter Clifford Brown, and two prominent jazz trumpeters whom historians assert were influenced by Brown—Donald Byrd and Freddie Hubbard. Though Brown died in 1956 at the age of 25, the reverence among the jazz community for his improvisational style was so great that generations of modern jazz trumpeters were affected by his playing. It is widely said that Brown remains one of the most influential modern jazz trumpeters of all time. In the case of Donald Byrd, exposure to Brown’s style was significant, but the extent to which Brown’s playing was foundational or transformative has not been examined.
    [Show full text]
  • Åtti Deilige År Med Blue Note
    Blå musikk med Blue Note – #1 Johan Hauknes salt peanuts* & Oslo Jazz Circle 14. januar 2020 salt-peanuts.eu Åtti deilige år med Blue Note You just have to play better for Blue Note! Blå musikk med Blue Note – #2 Preludium Jutta Hipp Die junge deutsche Pianistin aus Leipzig Jutta Hipps tragiske historie Leonard Feathers fikk henne til USA i 1955 våren 1956: seks måneder spillejobb på Hickory House, NYC Blue Note tok opp 5. april 1956 Hun ble møtt med New York-jazzverdenens sexistiske og nedvurderende holdning til henne som kvinnelig og europeisk jazzmusiker La dette også være en påminnelse om den følgende historiens skjeive kjønnsdimensjon. Jutta Hipp er den eneste kvinnen som blir omtalt! Blå musikk med Blue Note – #3 Det noen kaller blues, kaller jeg vakker musikk Blue Note Records, et navn som skaper rykninger i jazzfoten til enhver som vet noe som helst om jazzens moderne historie. Med LP-formatet lanserte Blue Note katalogserien «Modern jazz», med katalogummer 15XX. plateselskapet for «hard bop». 1500-serien ble videreført med samme navn i 4000-seriene, Et utvalg av de i alt ca. 450 Blue Note-utgivelsene i disse seriene danner fortsatt i dag basisen i de fleste jazzplatesamlinger over hele verden Jeg er sikker på at vi ville komme til et svært høyt tall om vi summerte antall Blue Note-plater i de tilstedeværendes samlinger! Ville det bli seks-sifret? Blå musikk med Blue Note – #4 Tre naturlige deler Jeg skal ikke fortelle den store historien om Blue Note Records, om Alfred Lion og Francis Wolff Er du interessert i dette kan jeg anbefale Richard Cook: Blue Note Records – The Biography (2001) DVD-ene «It must schwing – The Blue Note Story», (Wim Wenders/NDR 2018) / «Blue Note – Beyond the notes», (Sophie Huber/Universal 2019) / «Blue Note – A story of modern jazz» (Julian Benedikt/EuroArts Entertainment, 1997) Jeg skal ikke gå inn på diskografiske detaljer for den seriøse/gale Blue Note-samler som detaljstudier av labler, BN-adresser, deep groove vs.
    [Show full text]
  • HENDERSON Trumpeting Change
    November 2012 | No. 127 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com EDDIE HENDERSON Trumpeting Change FRED • TED • PHIL • GLIGG • EVENT VAN HOVE NASH COHRAN RECORDS CALENDAR CHICK COREA & ELLIS MARSALIS QUARTET ERIC PERSON CURTIS STIGERS KENNY G STANLEY CLARKE BAND 11/8 - 11 11/12 11/13 - 14 11/15 - 18 ft. RAVI COLTRANE & MARCUS GILMORE 11/3 - 7 SHEILA JORDAN & STEVE KUHN DUO JACQUI NAYLOR THE MANHATTAN TRANSFER CASSANDRA WILSON 11/19 11/20 - 22 11/23 - 25 11/29 - 12/2 LATE NIGHT GROOVE SERIES: SUNDAY BRUNCH SERIES: JEFF FOXX & CHARMAINE AMEE 11/2 NYU JAZZ: MICHAEL RODRIGUEZ 11/4 THOUSANDS OF ONE 11/3 IRIS ORNIG 11/11 RITMOSIS 11/9 JUILLIARD JAZZ ENSEMBLE 11/18 MAURICIO ZOTTARELLI - MOZIK 11/10 ERIKA 11/25 JOHN RAYMOND PROJECT 11/16 MUTHAWIT 11/17 MATT DICKEY & TRY THIS AT HOME 11/23 SWISS CHRIS 11/24 MICHAEL FEINBERG 11/30 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY Everyone has seen one of those classic kung fu movies where some line like “Now the student has become the master” is spoken. It may seem a bit trite when heard with bad overdubbing but jazz wouldn’t be the same without the concept. While New York@Night there have been some players that appeared fully formed, most worked numerous 4 apprenticeships - learning on the bandstand, as it were - with their elders, Interview: Fred Van Hove absorbing lessons they themselves later passed on. Trumpeter Eddie Henderson (On The Cover) got his start as part of Herbie 6 by Clifford Allen Hancock’s Mwandishi band in 1970 but is now an elder statesman himself, sharing Artist Feature: Ted Nash decades of jazz wisdom.
    [Show full text]
  • BREVE NOTES Music Library Association No
    Newsletter Southeast Chapter BREVE NOTES Music Library Association No. 82 January 2008 2007 SEMLA Annual Meeting in Jacksonville, Florida Scott J. Simon, University of South Florida Night ride aboard the water taxi: (l-r) Mac Nelson, Diane Steinhaus, Sarah Dorsey, Shannon Watson, Lynn Jacobson, Lee Richardson. The 2007 SEMLA Conference was held at the Jacksonville Main duced the first speaker, Charlotte Mabrey, percussionist and educa- Public Library in Jacksonville, Florida from October 18th - 20th. tor at the University of North Florida. With the scenic banks of the St. John’s River (flowing north!), and the vibrant culture and sunny climate, Jacksonville served as an Charlotte Mabrey gave a presentation titled An Evening of 20th Cen- ideal location. tury Music for those who seek an alternative to Saturday night TV. Charlotte’s experiences in promoting and performing her music The Conference began Thursday evening with registration and a locally highlighted the progressive (even experimental) artistry that tour of the 300,000 sq. ft. Main Library of the Jacksonville Public is apparently a tradition in Jacksonville. Her self-determination Library System (http://jpl.coj.net/). Highlights included the Chil- became obvious in her descriptions (equal parts laugh-out-loud, dren and Teen library facilities, the Talking Books library, the Cen- playful, and ironic) of her experiences performing regularly at a ter for Adult Learning, the peaceful courtyard, and the prominent local restaurant called The Boathouse. Clips of Charlotte’s perform- Music Collection. Following the tour, there was much conversation ances gave testimony to her creativity, natural talent, and artistic and tasty cuisine at the reception sponsored by Music Library Ser- merit – an alternative to “Saturday night TV” indeed.
    [Show full text]
  • Ornette Coleman and Harmolodics by Matt Lavelle
    Ornette Coleman and Harmolodics by Matt Lavelle A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written and approved under the direction of Dr. Henry Martin ________________________ Newark, New Jersey May 2019 © 2019 Matt Lavelle ALL RIGHTS RESERVED ABSTRACT Ornette Coleman stands as one of the most significant innovators in jazz history. The purpose of my thesis is to show where his innovations came from, how his music functions, and how it impacted other innovators around him. I also delved into the more controversial aspects of his music. At the core of his process was a very personal philosophical and musical theory he invented which he called Harmolodics. Harmolodics was derived from the music of Charlie Parker and Coleman’s need to challenge conventional Western music theory in pursuit of providing direct links between music, nature, and humanity. To build a foundation I research Coleman’s development prior to his famous debut at the Five Spot, focusing on evidence of a direct connection to Charlie Parker. I examine his use of instruments he played other than his primary use of the alto saxophone. His relationships with the piano, guitar, and the musicians that played them are then examined. I then research his use of the bass and drums, and the musicians that played them, so vital to his music. I follow with documentation of the string quartets, woodwind ensembles, and symphonic work, much of which was never recorded.
    [Show full text]