John Wasson CV Fall 2021
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Highly Recommended New Cds for 2018
Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Young and Terry Promane Octet Volume Two Modica Music Phil Parisot Creekside OA2 John Stowell And Ulf Bandgren Night Visitor Origin Eric Reed A Light In Darkness WJ3 Katharine McPhee I Fall In Love Too Easily BMG Takaaki Otomo New Kid In Town Troy Dr. Lonnie Smith All In My Mind Blue Note Clovis Nicolas Freedom Suite Ensuite Sunnyside Wayne Escoffery Vortex Sunnyside Steve Hobbs Tribute To Bobby Challenge Adam Shulman Full Tilt Cellar Live` Scott Hamilton Live At Pyat Hall Cellar Live Keith O’ Rourke Sketches From The Road Chronograph Jason Marsalis Melody Reimagined Book One Basin Street 1 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dan Block Block Party High Michael Waldrop Origin Suite Origin Roberto Margris Live In Miami J Mood Dan Pugach Nonet Plus One Unit UTR Jeff Hamilton Live From San Pedro Capri Phil Stewart Melodious Drum Cellar Live Ben Paterson That Old Feeling Cellar Live Jemal Ramirez African Skies Joyful Beat Michael Dease Reaching Out Positone Ken Fowser Don’t Look Down Positone New Faces Straight Forward Positone Emmet Cohen With Ron Carter Masters Legacy Series Volume Two Cellar Live Bob Washut Journey To Knowhere N/C Mike Jones and Penn Jillette The Show Before The Show Capri 2 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Tull Texting And Driving Toy Car Corcoran Holt The Mecca Holt House Music Bill Warfield For Lew Planet Arts Wynton Marsalis United We Swing Blue Engine Scott Reeves Without A Trace Origin -
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. -
Guide to the Bill Holman Collection
Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date: -
John Beasley
JOHN BEASLEY GRAMMY-NOMINEE PIANIST / COMPOSER / ARRANGER ******************************************************************************************* “Beasley, the one-time keyboardist for Freddie Hubbard and Miles Davis, reflects a variety of generational influences, incorporating the emphatic chordal clusters of Herbie Hancock, the rhythmic quirkiness of Monk and the lush intelligence of Art Tatum into a highly refined personal voice.” --Los Angeles Times ******************************************************************************************* BIOGRAPHY Grammy-nominated recording artist John Beasley’s music career spans three decades. LA Times jazz critic Bill Kohlhaasee describes Beasley’s music and playing as "a variety of generational influences, incorporating the emphatic chordal clusters of Herbie Hancock, the rhythmic quirkiness of Monk and the lush intelligence of Art Tatum into a highly refined personal voice.” His credits cross the spectrum of the entertainment world: performing, recording, and touring with major jazz, pop, and world artists; composing for hit-TV series; arranging for ensembles and orchestras; working on award-winning films and commercials. With the popularity of reality singing TV shows, Beasley has taken the helm as Music Director for major studio shows. Highlights of Beasley’s multi-track career include: • Pianist/Keyboardist for Miles Davis, Freddie Hubbard, Chaka Khan, Carly Simon, Christian McBride, Dianne Reeves, Kenny Garrett, Stanley Clarke, Lee Ritenour, even a stint with James Brown, Barbra Streisand, -
FOLLOWING the HERD REPERTOIRE TABLE 2017-V3
TITLE COMPOSER/ STYLE ALBUM/ERA INSTRUMENT ARRANGER FEATURE/SOLO ADAM’S BROADBENT MEDIUM BRAND NEW 1971 CLARINET/FLUGEL APPLE SWING TROMBONE AFTER PARISH/PIERCE SLOW BRAND NEW 1971 PIANO HOURS GROOVE AFTER CREAMER/LAYTON/ HOLMAN UP TEMPO WOODY HERMAN 1964 CLARINET/TRUMPET YOU’VE TENOR SAX GONE AJA BECKER/FAGAN / BROADBENT STRAIGHT CHICK,DONALD,WALTER TENOR SAX 8th WOODROW 1978 A KISS HEMAN/SLACK/VICTOR EASY NUMEROUS ALBUMS TRUMPET/CLARINET GOODNIGHT VOCAL SINCE 1945 ALONE AGAIN O’SULLIVAN/ BROADBENT STRAIGHT THE RAVEN SPEAKS TROMBONE/ALTO SAX (NATURALLY) 8th 1974 TENOR SAX AMERICA ZAPPA/BROADBENT FAST THUNDERING HERD FLUGEL/PIANO DRINKS AND GOES HOME SWING 1974 APPLE WOODY HERMAN UP TEMPO NUMEROUS ALBUMS VIBES/’BONE /TENOR SAX/ HONEY SINCE 1944 TRUMPET APRIL DeSYLVA/SILVERS/BURNS EASY JAZZ SWINGER ALBUM FLUGEL HORN SHOWERS VOCAL 1966 AQUARIUS RADA/RAGNI STRAIGHT HEAVY EXPOSURE 1969 SOPRANO SAX EVANS 8th A SONG FOR RUSSELL/STAPLETON STRAIGHT GIANT STEPS PIANO/SOPRANO SAX YOU 8th 1973 FLUGEL AURORA ROLAND BALLAD VARIOUS ALBUMS ALTO/TENOR AUTOBAHN BURNS/HERMAN MEDIUM VARIOUS ALBUMS TENOR/BARITONE BLUES SWING SINCE 1954 TRUMPET BAMBA BYRD/FELLER MEDIUM WOODY HERMAN Vol. 3 GUITAR LATIN/SWING SAMBA BASS FOLK CLARKE/KLATKA FAST 4 THUNDERING HERDS BASS/PIANO/PICCOLO (ROCK-FUNK) SONG 1974 BATTLE ELLINGTON/FEDCHOCK UP-TEMPO GOLD STAR SAXES ROYAL SWING 1987 BEBOP AND BROADBENT FAST GIANT STEPS 1973 TRUMPET/’BONE/TENOR ROSES SWING SAX BEDROOM GEE/PIERCE EASY LIVE AT HARRAH’S CLUB PIANO/TROMBONE EYES SWING 1964 TRUMPET BETTER GET MINGUS/ HAMMER FAST -
Big Bad Voodoo Daddy Discography
Big Bad Voodoo Daddy Discography 1 / 4 Big Bad Voodoo Daddy Discography 2 / 4 3 / 4 Information on Big Bad Voodoo Daddy. Complete discography, ratings, reviews and more. Stream songs before you buy.. Big Bad Voodoo Daddy - Rattle Them Bones (2012). Image could not be displayed. Check browser for compatibility. 01. The Adventures Of... Music video and lyrics - letras - testo of 'Mambo Swing' by Big Bad Voodoo Daddy. SongsTube provides all the best Big Bad Voodoo Daddy songs, oldies but .... The latest Tweets from big bad voodoo daddy (@BBVD). The official twitter for the band Big Bad Voodoo Daddy! Check out our updates from the road and find .... Alphabetical list of all songs by Big Bad Voodoo Daddy. SongsTube provides all the best Big Bad Voodoo Daddy songs, oldies but goldies tunes and legendary .... Big Bad Voodoo Daddy Swing group For the Record… Selected discography Sources Source for information on Big Bad Voodoo Daddy: Contemporary .... An as complete as possible discography for Big Bad Voodoo Daddy with tracklistings, lyrics and background info.. Big Bad Voodoo Daddy - Big Bad Voodoo Daddy - Amazon.com Music. ... Rattle Them Bones by Big Bad Voodoo Daddy Audio CD $13.69. Only 20 left in stock .... How Big Can You Get?: The Music of Cab Calloway. 2009. How Big Can You Get?: The Music of Cab Calloway · Big Bad / Vanguard · Rattle Them Bones. 2012.. ... Merchandise Store!! Check out the new Big Bad Voodoo Daddy web store at the link below, and take advantage of the sale items and new items available!. Big Bad Voodoo Daddy discography and songs: Music profile for Big Bad Voodoo Daddy, formed 1989. -
M-Pact to Bring Its Signature Vocal-Only Pop-Jazz Sound to Doudna.Pdf" (2011)
Eastern Illinois University The Keep 2011 Press Releases 1-21-2011 01/21/2011 - M-Pact To Bring Its Signature Vocal- Only Pop-Jazz Sound To Doudna.pdf University Marketing and Communications Follow this and additional works at: http://thekeep.eiu.edu/press_releases_2011 Recommended Citation University Marketing and Communications, "01/21/2011 - M-Pact To Bring Its Signature Vocal-Only Pop-Jazz Sound To Doudna.pdf" (2011). 2011. 7. http://thekeep.eiu.edu/press_releases_2011/7 This Article is brought to you for free and open access by the Press Releases at The Keep. It has been accepted for inclusion in 2011 by an authorized administrator of The Keep. For more information, please contact [email protected]. M-pact to Bring its Signature Vocal-Only Pop-Jazz Sound to Doudna Jan-21-2011 M-pact, which uses only human voices to create its trailblazing signature pop-jazz sound, will perform at Eastern Illinois University's Doudna Fine Arts Center on Tuesday, Feb. 1. The Los Angeles-based sextet has been hailed as "one of the best pop- jazz vocal groups in the world" by the San Francisco Chronicle, and their performance has been described as "a vocal wall of sound" by National Public Radio. The group describes its sound as a combination of "the smooth soul of Stevie Wonder; the percussive power of Stomp; the funk and drive of Earth, Wind, & Fire; the hip licks of Take 6; and the brass bite of the Harry Connick Jr. Big Band." Touring renowned fine arts halls and jazz festivals across four continents, m-pact has performed with many pop superstars, including Sheryl Crow, Boyz II Men, Kenny G, Liza Minnelli, Babyface, Rick Springfield and Jackson Browne. -
Boston Globe, March, 2006
The Boston Globe March 17, 2006 She breaks down musical boundaries Luciana Souza sings with no fear, winning respect of her peers Three of Luciana Souza's four most recent CDs have earned her Grammy nominations, including ''Duos II," which this year was edged out for best jazz vocal album by Dianne Reeves and the ''Good Night, and Good Luck" soundtrack. But Souza's not a big star yet by any means. What popularity she has remains largely confined to the jazz cognoscenti and her fellow musicians, the latter of whom seem uniformly to adore her. High on the list of things they admire about Souza is her willingness to take risks. Consider the rapid-fire unison lines she sings with guitarist Romero Lubambo on ''Duos II," the album they'll likely draw heavily from in their Bank of America Celebrity Series double bill with Joe Lovano tomorrow night at Sanders Theatre. Souza, 39, and Lubambo have been playing together for a decade. But while they've built up a large repertoire of material over the years, they rarely have occasion to practice together beyond sound checks. It can sometimes come back to haunt them in concert, Souza admits. ''We have a way of doing them that hopefully comes out clean," Souza explains, laughing. ''Some nights we get into trouble, but even that is exciting for the audience. You try your best, and sometimes it succeeds. Sometimes we fail miserably, and we go back and go, 'Here we go one more time,' and just try again in front of people. -
PTACIN, MICHAEL JOSEPH, D.M.A. an Annotated Bibliography of Works for Solo Marimba and Electronics Published from 1978-2012
PTACIN, MICHAEL JOSEPH, D.M.A. An Annotated Bibliography of Works for Solo Marimba and Electronics Published from 1978-2012. (2013) Directed by Dr. Dennis AsKew. 83 pp. The purpose of this study was to create an annotated bibliography of works for solo marimba and electronics published from 1978-2012. Thirty-four compositions were included in the annotated bibliography. For inclusion in this study, works met criteria established as follows: published and commercially available prior to January 1, 2013; supplied with both the score and accompaniment material; written for an individual performer; original composition for marimba; and marimba was the only keyboard percussion instrument. The incidental use of auxiliary percussion instruments did not disqualify a work for inclusion. The information identified in each entry of the annotated bibliography includes title, composer, publisher, range of marimba needed, duration of the work, number of movements, the type of accompaniment, and composer or publisher’s notes. Entries in the bibliography were organized alphabetically by composer last name. Each entry contains overviews of the accompaniment and performance techniques, including four-mallet stroke types and difficulty, as well as a musical overview, which covers such topics as specific challenges within the work or mallet selection. The annotations are neither meant to evaluate the musical merits of the works nor make observations or draw conclusions regarding the development of the identified compositions. The information provided in this document is intended to serve as a practical and useful resource for performers and bring broader awareness to the included works. The first chapter includes discussion of the study’s limitations and the process for identifying and selecting works included works. -
Huntsville TX Cincinnati College-Conservatory
CURRICULUM VITAE Dr. John W. Lane Associate Professor of Music, Director of Percussion Studies Sam Houston State University Email: [email protected] Office Phone: (936) 294-3593 EDUCATION 2010 Cincinnati Conservatory of Music – Cincinnati, OH Doctor of Musical Arts in Percussion Performance D.M.A. Document: Abstracted Resonances: A Study of Performance Practices Reflecting the Influence of Indigenous American Percussive Traditions in the Music of Peter Garland. 2004 University of North Texas – Denton, TX Master of Music in Percussion Performance 2002 Stephen F. Austin State University – Nacogdoches, TX Bachelor of Music (Music Education) TEACHING/WORK HISTORY 2006 – Present Sam Houston State University – Huntsville TX Associate Professor of Percussion, Tenured 2011 Director of Percussion Studies Duties: Applied Percussion, Director of the Sam Houston Percussion Group and Steel Band Administrative Duties: Personnel management (oversee graduate assistant and adjunct duties), Assist the Bearkat Marching Band Drumline, Coordinate teaching rosters/load, Develop applied lesson curriculum 2005-2006 Cincinnati College-Conservatory of Music – Cincinnati, OH Graduate Assistant Duties: Percussion Methods, Assisted with the maintenance of the Percussion Studio 2004-2005 University of Wyoming – Laramie, WY Lecturer of Percussion Duties: Applied Percussion, Director of the Percussion Ensemble and Pan Band, Percussion Methods, Public School Jazz Techniques, Instructor for the Western Thunder Marching Band Drumline 2002-2004 University of North Texas – Denton, TX Teaching Fellow Duties: Applied Percussion, Director/Arranger for the UNT Steel Band RESEARCH: SCHOLARLY AND CREATIVE ACCOMPLISHMENTS INTERNATIONAL JURIED PERFORMANCES (invited) 2014 Percussive Arts Society International Convention (PASIC), Indianapolis, IN. [PASIC is the largest gathering of percussionists in the world, bringing together over 150 events with attendance of over 6,000 percussionists, educators, and enthusiasts. -
D:\Scores\Go Daddy-O (10 Piece) Parts\01 Alto Saxophone.Sib
Alto Saxophone Big Bad Voodoo Daddy Go Daddy-O Trans. Shaun Evans q = 220 (Swinger) A 4 2 Go Dad-O! dy - 11 2 Go Dad-O! dy- Go Dad-O! dy- B C 18 11 mf 33 37 D 41 3 3 46 3 E F 51 2 12 10 3 f G 78 3 3 f ff Copyright ©2005 -- Shaun Evans -- WWW.SHAUNEVANS.COM Alto Saxophone 2 H 82 5 mf f 92 mp 96 4 mf f I 102 2 2 Go Dad-O! dy - Go 109 2 Dad-O! dy - Go Dad-O! dy - J 114 mf 119 2 1. 2. 123 2 2 Alto Saxophone 3 K L 129 11 mf 144 148 M 152 3 f (On Cue) 154 3 3 ff Big Bad Voodoo Daddy Bass Go Daddy-O Trans. Shaun Evans q = 220 (Swinger) A 4 2 5 Go Dad-O! dy- B 16 Bb7 Go Dad-O! dy - mf 21 E9 Bb7 C 26 F9 Bb7 Bb7 31 E9 Bb7 37 F9 Bb7 D 42 Bb7 Eb7 Bb7 Eb7 48 Bb7 F7sus F9 Bb7 E 53 57 Copyright ©2005 -- Shaun Evans -- WWW.SHAUNEVANS.COM Bass 2 61 F 65 Bb7 f 70 Eb9 Bb7 F7sus G 75 F9 Bb7 f H 80 Bb%/D Eb9 Bb7 ff f 85 Cm7 F9 Bb% Gm7(b9) Cm9 F9 90 Bb9 Eb9 Bb% Bb7 Bb7(#5) Eb9 95 Bb9 F7sus F9 I 100 Bb7 Go 105 2 2 Dad-O! dy- Go Dad-O! dy- Go Bass J 3 113 Dad-O! dy- 118 Eb7 Bb7 F7sus 1. -
What We've Made of Louis Prima John J
Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 1-1-2005 Taming the Wildest: What We've Made of Louis Prima John J. Pauly Marquette University, [email protected] Published version. "Taming the Wildest: What We've Made of Louis Prima," in Afterlife as Afterimage: Understanding Posthumous Fame. Eds. Steve Jones and Joli Jensen. New York: Peter Lang International Academic Publishers, 2005: 191-208. Publisher Link. © 2005 Peter Lang International Academic Publishers. Used with permission. chapter 1 O Taming the Wildest What We've Made of Louis Prima jOHN j. PAULY For over forty years, Louis Prima had survived one change after another in the pop~ ular music business. He was, in succession, a trumpet section player in his home~ town ofNew Orleans, the front man for a popular New York City jazz quintet, and the leader of a touring big band. In the 1950s, with his career flagging, he reinvent~ ed himself as a spectacular Las Vegas lounge act, then nudged his career through the 1960s with help from his old friend, Walt Disney. He explored many forms of popular music along the way, but aspired only, in his own words, to "play pretty for the people." The same man who wrote the jazz classic "Sing, Sing, Sing," would also record easy listening instrumental music, Disney movie soundtracks, and ltalian~American novelty songs. In all these reincamations, he performed with an exuberance that inspired his Vegas nickname, "the wildest." Prima's career would end in deafening silence, however. He spent the last thirty~five months of his life in a coma, following a 197 5 operation in which doctors partially removed a benign tumor from his brain stem.