Sketches the History of Jazz Piano Solo Performance / Seminar by Larry Vuckovich

Total Page：16

File Type：pdf, Size：1020Kb

Sketches the History of Jazz Piano Solo Performance / Seminar by Larry Vuckovich

Gualala Arts Jazz Series Sketches 3 in association with Fred Adler KTDE (100.5 FM), presents: The History of Jazz Piano Solo performance / seminar by Larry Vuckovich Saturday, January 17, 2009 at 7:30 p.m. at the Gualala Arts Center Th e stellar favorite jazz pianist, Larry Vuckovich, Piano styles will include ragtime, boogie woogie, returns to Gualala Arts Center Coleman Auditorium on stride, swing, bebop and post-bop. Recordings and Saturday, January 17, 2009 at 7:30 p.m. DVDs will be presented to complement presenting “Th e History of Jazz Piano” the live demonstrations, anecdotes and in a unique solo performance/seminar. commentary. Vuckovich will be joined by Fred Adler (KTDE, 100.5 FM) acting as discussion Born in 1936, Larry Vuckovich interviewer and conversation moderator. left Yugoslavia with his family for San Francisco in 1951 at age fourteen. He Piano stylists ranging from the later studied with the renowned pianist/ early twentieth century and spanning composer Vince Guaraldi of “Peanuts” the decades will be discussed, with fame and became frequent accompanist Vuckvovich enthusiastically emulating for famous vocalists Jon Hendricks and their personal styles. Yugoslavian born Mel Tormé. Vuckovich has performed Larry Vuckovich, who has personally internationally with many of the greats known many of the past piano legends, of jazz throughout the decades, including is an entertaining and colorful jazz the historic tenor-man Dexter Gordon. historian and storyteller, with a unique For more information see larryvuckovich. old world charm and sense of humor. com. His wife Sanna will sing two songs that are associated with the famous Th is special performance/seminar has vocalist Billie Holiday, as a special treat. been prepared exclusively for the Gualala Audience questions and feedback will be Arts Center by Vuckovich and Adler. encouraged. Tickets are available 24/7 with Visa A partial list of pianists covered in or MC by calling 800-838-3006 or this historic overview will include Jelly with cash/check at Gualala Arts, Violet’s Roll Morton, Art Tatum, Earl “Fatha” Boutique and the Four-Eyed Frog Hines, Nat King Cole, Fats Waller, Erroll Bookstore. Th ere is limited cabaret Garner, Count Basie, Duke Ellington, seating. Tickets are $25 advance, $5 Bud Powell, Th elonious Monk and more the day of the performance, if McCoy Tyner. An unusual highlight will available.Youth 7 to 17 free. Doors open feature Larry’s particular love for comic/ at 7:00, Performance at 7:30 p.m. No- pianist Chico Marx! Host Bar. photo: Gilles Dacquin.

Copy Link

Recommended publications

African American Historic & Cultural Treasures
AFRICAN AMERICAN HISTORIC & CULTURAL TREASURES JULY 26, 2018 African American Historic & Cultural Treasure 500: Jazz Critics Poll Down Beat Award, 1956 USD 300 - 400 First place awarded to Art Tatum in this wood and metal shield-shaped award. 7 1/2 x 7".Art Tatum is considered one of the world's greatest jazz pianists. Tatum had received some formal musical training but, utilizing his perfect pitch, was mainly self-taught. He was known for his experimental and creative playing, as well as his legendary speed and improvisational skills. Despite being nearly blind, Tatum's dexterity made him an excellent player, as can be heard on the 1933 recording 'Tea for Two,' one of his best known songs.Ahead of his time, Art Tatum's techniques would contribute to the development of modern jazz, with aspects of his technique influencing musicians including Charlie Parker, Bud Powell, and Oscar Peterson. Tatum, after his sadly premature death at age 47, was recognized for his considerable talents and his contributions to the jazz world when he was posthumously inducted into the Down Beat Jazz Hall of Fame, the International Hall of Fame, and awarded a Grammy Lifetime Achievement Award, among other honors.From the Estate of Art Tatum. 501: Stereo Review's Record of the Year Award, 1974 USD 200 - 300 8 x 10" high gloss framed award recognizing Art Tatum's "The Tatum Solo Masterpiece" as the Record of the Year.Art Tatum is considered one of the world's greatest jazz pianists. Tatum had received some formal musical training but, utilizing his perfect pitch, was mainly self-taught.
[Show full text]
Workshops Concerts Connect! Newsletter Jazz
ABOUT DEGREE PROGRAM COMMUNITY MUSIC SCHOOL -ADULT COMMUNITY MUSIC SCHOOL -YOUTH CONCERTS SUPPORT ABOUT DEGREE PROGRAM Jazz Piano with Larry Vuckovich « Back to Events COMMUNITY MUSIC SCHOOL – ADULT This event has passed. COMMUNITY MUSIC SCHOOL – YOUTH CONCERTS Event: Jazz Piano with Venue: Jazzschool Larry Vuckovich Phone: 510-845-5373 SUPPORT Start: May 5, 2013 12:00 pm Address: 2087 Addison St, Google Map Berkeley, CA, End: May 5, 2013 3:00 94704, United pm States Workshops Category: Workshops Organizer: Jazzschool May 19, 2013 11:00 am Updated: March 12, 2013 Mark Levine Workshop Series: Jazz Theory Complete in 2 Hours! May 19, 2013 12:00 pm Vocal Jazz Workshop: The Music of Harold Arlen with Maye Cavallaro May 19, 2013 2:00 pm Mark Levine Workshop Series: How to Voice Standards for Piano - The Menu May 26, 2013 11:00 am Montuno Basics with Eli Goldlink View All Events Jazz Piano Concerts with Larry Vuckovich May 17, 2013 6:00 pm Jazzschool Institute Student Master jazz pianist Larry Vuckovich offers a unique hands-on workshop highlighting the history Performances of jazz piano. This event is designed for both musicians and jazz fans who would like to learn more about the history and origins of jazz piano from a nationally and internationally acclaimed musician. Larry will bring CDs of the jazz piano masters and also demonstrate on piano the May 18, 2013 8:00 pm signature styles of many of these legendary pianists. He starts with New Orleans sounds of Earl Eli Goldlink's Flavor of the ‘Fatha’ Hines, moves through swing era piano of Teddy Wilson and Art Tatum, and on to bebop era Month Club Band & Cha Ching innovations of Bud Powell,Thelonious Monk and Barry Harris, then, original jazz expressions of Erroll Garner, followed by hard bop bluesy inflections of Red Garland and Sonny Clark, and post bop changes of Hank Jones and Tommy Flanagan, to further post bop extensions of Bill Evans, McCoy May 19, 2013 4:30 pm Tyner and Chick Corea.
[Show full text]
Tiger Rag and the Twentieth Century
! A Song Through Time: Tiger Rag and the Twentieth Century ! ! ! A Senior Project presented to the Faculty of the Music Department California Polytechnic State University, San Luis Obispo ! ! ! In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts ! ! by Thomas Grady Hartsock February, 2014 © 2014 Thomas Grady Hartsock !2 Table Of Contents ! Introduction……………………………………………………………………………………Pg. 4 Original Dixieland Jazz Band Biography……………………………………………………………………….……Pg. 11 Musical Analysis…………………………………………………………………….Pg. 14 Discussion……………………………………………………………………………Pg. 18 Art Tatum Biography……………………………………………………………………………Pg. 20 Musical Analysis…………………………………………………………………….Pg. 24 Discussion……………….…………………………………………………………..Pg. 34 Les Paul and Mary Ford Biography……………………………………………………………………………Pg.36 Musical Analysis…………………………………………………………………….Pg. 41 Discussion……………….…………………………………………………………..Pg. 44 Dukes of Dixieland Biography……………………………………………………………………………Pg. 47 Musical Analysis……………………………………………………………………..Pg. 50 Discussion…………………………………………………………..……………… Pg. 51 Wynton Marsalis Biography……………………………………………………………………………Pg. 55 !3 Musical Analysis……………………………………………………………………Pg. 58 Discussion…………………………………………………………………………..Pg. 62 Conclusions and Cogitations…………………………………………………………..……Pg. 64 Appendix 1 Forms for each individual piece…………………….…………………………..Pg. 67 Appendix 2 Supplemental SHMRG And Comparison Chart……………………………….Pg. 68 Bibliography…………………………………………………………………………………Pg.71 Discography…………………………………………………………………………………Pg. 73 Image Credits……………………………………………………………………………..…Pg.
[Show full text]
Azzschool at C ALIFORNI a J a Z Z CON SERVATORY
the azzschool at C ALIFORNI A J A Z Z CON SERVATORY 2019 FALL CATALOG CLASSES • WORKSHOPS • CONCERTS “The California Jazz Conservatory Contents is an exceptional institution, fostering the next generation of artists and educators, INTRODUCTION ADULT VOCAL CLASSES (continued) many on the cutting edge, CJC Concert Series 2 Composition 28 performing, composing, The California Jazz Conservatory 4 Young Singers 28 teaching and touring The Jazzschool at CJC 6 Vocal Mentor Program 29 throughout the world.” ADULT VOCAL WORKSHOPS Dr. Jeff Denson ADULT PERFORMANCE ENSEMBLES Dean of Instruction, CJC Vocal Workshops 30 Jazz 8 Funk 12 Brazilian 12 YOUNG MUSICIANS PROGRAM World 13 Introduction 35 Latin 13 Program Requirements 35 Blues 13 Placement and Audition Requirements 36 ADULT INSTRUMENTAL CLASSES Large Performance Ensembles 37 Small Performance Ensembles 40 Piano and Keyboards 14 Voice 41 Guitar 17 Bass 1 9 Drums and Percussion 20 WORKSHOPS Saxophone 20 For all instruments and voice 4 2 THEORY, IMPROVISATION AND INFORMATION COMPOSITION CLASSES Monterey Jazz Festival Partnership Theory 21 for Excellence in Jazz Improvisation 21 Performance and Education 38 Composition 21 Jazzschool Faculty 53 Board and Staff 60 ADULT VOCAL CLASSES Instructions and Technique and Musicianship 22 Application Form 62 Performance 23 Map 63 Ensemble Singing 26 Support 64 Blues 27 Latin 27 IMPORTANT INFORMATION Dr. Jeff Denson is just • Fall Performance Series takes place 12/9 – 12/15. one of the reasons the California Jazz Conservatory Many opportunities fill early, so sign up now! Visit cjc.edu for current information, as schedules are subject to change. For the latest news from CJC, sign up for succeeds in transforming In a Musician, Out an Artist! our monthly mailed Postcard Calendar and our E-Newsletter at cjc.edu! musicians into artists.
[Show full text]
Jazz Standards Arranged for Classical Guitar in the Style of Art Tatum
JAZZ STANDARDS ARRANGED FOR CLASSICAL GUITAR IN THE STYLE OF ART TATUM by Stephen S. Brew Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Luke Gillespie, Research Director ______________________________________ Ernesto Bitetti, Chair ______________________________________ Andrew Mead ______________________________________ Elzbieta Szmyt February 20, 2018 ii Copyright © 2018 Stephen S. Brew iii To my wife, Rachel And my parents, Steve and Marge iv Acknowledgements This document would not have been possible without the guidance and mentorship of many creative, intelligent, and thoughtful musicians. Maestro Bitetti, your wisdom has given me the confidence and understanding to embrace this ambitious project. It would not have been possible without you. Dr. Strand, you are an incredible mentor who has made me a better teacher, performer, and person; thank you! Thank you to Luke Gillespie, Elzbieta Szmyt, and Andrew Mead for your support throughout my coursework at IU, and for serving on my research committee. Your insight has been invaluable. Thank you to Heather Perry and the staff at Stonehill College’s MacPhaidin Library for doggedly tracking down resources. Thank you James Piorkowski for your mentorship and encouragement, and Ken Meyer for challenging me to reach new heights. Your teaching and artistry inspire me daily. To my parents, Steve and Marge, I cannot express enough thanks for your love and support. And to my sisters, Lisa, Karen, Steph, and Amanda, thank you.
[Show full text]
Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and Others (1945) Added to the National Registry: 2002 Essay by Ed Komara (Guest Post)*
“Ko Ko”-- Charlie Parker, Miles Davis, Dizzy Gillespie, and others (1945) Added to the National Registry: 2002 Essay by Ed Komara (guest post)* Charlie Parker Original label “Ko Ko” was Charlie Parker’s signature jazz piece, conceived during his apprenticeship with Kansas City bands and hatched in the after-hours clubs of New York City. But when “Ko Ko” was first released by Savoy Records in early 1946, it seemed more like a call for musical revolution than a result of evolution. “Ko Ko” was developed from a musical challenge that, from 1938 through 1945, confounded many jazzmen. The piece uses the chord structure of “Cherokee,” an elaborate, massive composition that was written by dance-band composer Ray Noble. “Cherokee” was the finale to a concept suite on Native American tribes, the other four movements being “Comanche War Dance,” “Iroquois,” “Sioux Sue,” and “Seminole.” If a standard blues is notated in 12-measures, and a pop song like George Gershwin’s “I Got Rhythm” is in 32 measures, Noble’s “Cherokee” is in 64 measures. In 1939, Charlie Barnet popularized “Cherokee” through a hit version for RCA Victor. Meanwhile, jazz musicians noticed the piece, and they tried clumsily to improvise solos to its chord progression. Count Basie, for one, with his Kansas City band, recorded “Cherokee” in February 1939. At the time, Basie had some of the best soloists in jazz like Lester Young, Ed Lewis, and Dicky Wells. But on this record, these four musicians improvised only during the A sections, leaving the very difficult “bridge” sections (measures 33-48 of the piece) to be played by the whole band.
[Show full text]
Incarnation Episcopal Church 1750 29Th Avenue, San Francisco 415-564-2324 Sunsetarts.Wordpress.Com 1
Building Community through Music & Arts Incarnation Episcopal Church 1750 29th Avenue, San Francisco 415-564-2324 sunsetarts.wordpress.com 1 Dear Friends, Welcome to the Sunset Music & Arts 2018 season. Our 4th season is another ambitious season on the heels of a very successful 2017 season. We are extremely grateful to our audience members, artists, donors, and the many volunteers who help put together this upcoming season. We continue to focus on bringing high-quality live music programming and performing arts to the Sunset district of San Francisco, adding to the cultural milieu of San Francisco in these extremely challenging times. Some of the highlights of the new season include performances by both returning artists as well as many new artists. In 2018 we have an expanded instrumental series, a strong chamber music and vocal series, and an expanded Jazz/Folk series as well. We are especially proud to partner with our artists- in-residence, the San Francisco Renaissance Voices (director Katherine McKee) and other groups like the San Francisco Boys Chorus, the San Francisco Girls Chorus, and the Bay Shore Lyric Opera company. In addition to concerts we also continue with our community events with travelogues, student recitals, and workshops. In 2018 we are proud to collaborate with the Phoenix Recital Symposium of San Francisco (Professor Sylvia Anderson, General and Artistic Director), to showcase up and coming opera singers as they prepare for a career in opera. These are just some of the highlights of the season. Please take time to read about all of the extraordinary artists and offerings in this brochure and join us as at one or more of our events in 2018.
[Show full text]
Sharp Criticism for Tesla Project and Its Environmental Review
Thursday, February 11, 2016 VOLUME LIII, NUMBER 6 Your Local News Source Since 1963 SERVING DUBLIN, LIVERMORE, PLEASANTON, SUNOL Sharp Criticism For Tesla Project And Its Environmental Review By Jeff Garberson zations, such as the Center for values, and a UC-Berkeley profes- Motorcyclist Association. A standing-room-only public Biological Diversity, the Sierra sor worried about the spread of a These groups had a common See Inside Section A hearing in Tracy last week heard Club, the Audubon Society, the potentially fatal fungal disease. theme, that the existing state California Native Plant Society In contrast to criticism of the recreation site at Carnegie is too Section A is filled with sharp criticism both of the propos- al to expand motorized recreation and Alameda Creek Alliance. proposed expansion, the hearing small for growing numbers of information about arts, people, It also came from groups with also heard strong support for it off-roaders, that there are no other entertainment and special events. to the Tesla site in eastern Alam- eda County and of the manner in a very different focus, such as from groups that organize and nearby places to practice their There are education stories, a Livermore Heritage Guild, the encourage motorized off-road sport, that their fees and taxes paid variety of features, and the arts which a required environmental review is being carried out. Society of American Indians, east recreation – groups like the Blue for an expansion that was approved and entertainment and Livermore neighbors concerned Ribbon Coalition, the Off Road Ve- by the state, and that off-roaders bulletin board.
[Show full text]
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.
[Show full text]
The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
“The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States.
[Show full text]
Tommy Irvine Jazz Collection SPC.2018.038
http://oac.cdlib.org/findaid/ark:/13030/c8g166g7 No online items Inventory of the Tommy Irvine Jazz Collection SPC.2018.038 Jade Delao California State University Dominguez Hills Archives and Special Collections 2018-12-05 University Library South -5039 (Fifth Floor) 1000 E. Victoria St. Carson, CA 90747 [email protected] URL: https://www.csudh.edu/libarchives/ Inventory of the Tommy Irvine SPC.2018.038 1 Jazz Collection SPC.2018.038 Language of Material: English Contributing Institution: California State University Dominguez Hills Archives and Special Collections Title: Tommy Irvine Jazz Collection creator: Cole, Nat King, 1919-1965 creator: Holiday, Billie, 1915-1959 creator: Eckstine, Billy creator: Garner, Erroll creator: Shearing, George creator: Vaughan, Sarah, 1924-1990 Identifier/Call Number: SPC.2018.038 Physical Description: 24 boxes Date (inclusive): 1908-1981, undated Date (bulk): 1940-1953 Language of Material: Collection material is in English. Abstract: This collection contains approximately 444 records held in 76 album sets with performances from musicians, many of which fall under the musical genre of jazz. Most of the records are 10" Shellac, 78 RPMs. Notable musicians featured in this collection include: George Shearing, Billy Eckstine, Nat King Cole, Erroll Garner, Billie Holiday, Sarah Vaughan, and others. Physical Description: Shellac, 10'', 78 RPM Conditions Governing Access There are no access restrictions on this collection. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the Director of Archives and Special Collections. Permission for publication is given on behalf of Special Collections as the owner of the physical materials and not intended to include or imply permission of the copyright holder, which must also be obtained.
[Show full text]
Art Tatum Night and Day Transcription
Art Tatum Night And Day Transcription SothicWhen Standfordand pickiest dowers Stew hisomen coherence some Antwerp? forgiven Uninfluentialnot intermediately Pen wash-outs enough, is nonetheless. Nelson aborning? How teenier is Bernie when You really wanted to develop a ghost of parker and day with his first attempt to the pop culture wiki is Grimes abandoned the night. All night sessions because he gave young peterson went on art tatum transcription process developed a documentary recording with dewey was too much. He also points the tatum? Ellington to that night and day? New orleans creole composer who brought his life, bill evans my house burns down on the music for having access to hear a sophisticated ideas. Do you think he wants to. Mighty lak a tatum art could go somewhere else. John carisi to drop me an inferiority complex by chick is too many issues are little atonal interludes between my transcription and art tatum went on such as he died. He or download button, holes in such ballads and indisputable joy, the normal triad for the front line would he would be quite exploratory. Share of tatum transcription material in new life had impaired, transcriptions will look to. Based on art of the night sessions were all of his jmt label mercury pressing with. Piano Jazz Solo Transcriptions My theme Music Transcriptions. Great stride pianist and art tatum transcription, transcriptions are included too. Tatum elements are here: and art tatum transcription. The inventor of the top of your life had never heard on sophisticated lady but the like the melodies rather than the keyboard even at the voice.
[Show full text]