2019 Gala Benefit Concert Valerie Simpson
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The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Benny Golson (* 25
JAMU 20150408-2 – Benny Golson (* 25. 1. 1929) 6 Along Came Betty 581030 6:08 9 Blues March 581030 6:13 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Van Gelder Studio, Hackensack, New Jersey, October 30, 1958. LP Blue Note BST 84003 „Moanin’“ / CD Blue Note 7243 4 95324 2 7. 3 I Remember Clifford (1957) (138) 581122 5:36 10 Blues March 581122 5:46 1 Whisper Not (1956) (297) 581122 7:11 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Live at the Olympia, Paris, November 22 / December 17, 1958. LP Fontana 680 202 and EP Fontana 460 642 / CD Gitanes 832 659-2. 4 I Remember Clifford 600206 3:10 11 Blues March 600206 5:17 13 Killer Joe (1959) (628) 600206 4:58 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Curtis Fuller-tb; Benny Golson-ts; McCoy Tyner-p; Addison Farmer-b; Lex Humphries-dr. New York City, February 6, 9 and 10, 1960. LP Argo 664 „Meet the Jazztet“ / CD Mosaic MD7-225. 2 Whisper Not 620302 5:20 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr. New York City, March 2, 1962. LP Mercury SR 60698 „Here and Now“ / CD Mosaic MD7-225. 7 Along Came Betty 620621 5:29 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. -
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. -
2016 Concert Programs
CAZADERO MUSIC CAMP Young Musicians Session Concert CAZADERO JAZZ WORKSHOP June 25, 2016 Jonathan Raman, Director CSU Sacramento CAZADERO ALL CAMP CHOIR Killer Joe ……………………………………..……….. Benny Golson Liz Mazzaferro, Conductor Gingerbread Boy ……………………………..………. Jimmy Heath Sacred Heart Elementary School, Sacramento I Bought Me a Cat …. American Folk Song, arr. Sally K. Albrecht CAZADERO STRING ORCHESTRA Peaceful River ………………………………... Traditional Spiritual Candace Crismond, Conductor arr. Mary Donnelly & George L. O. Strid Berkeley Unified School District Kusimama (Stand Tall) ………………...……….……. Jim Papoulis Simple Gifts …………………. Traditional, arr. Bruce Chase Elegy and Dance ………………………..…… Richard Meyer Danny Boy …………….……. Traditional, arr. Harry Alshin CAZADERO PIANO PROGRAM Batman Theme …………..…….. Neal Hefti, arr. Bob Cerulli Danielle Duckett and David Lee, Directors Little Bird’s Morning Song ………………………….. Robert Heller Salomé Frisch Berceuse ………………………………………….. Benjamin Godard CAZADERO CONCERT BAND Mae Hutchinson, primo Danielle Duckett, secondo Aaron Smith, Conductor Minuet ……………………………………………. L. van Beethoven Monterey Trail High School, Elk Grove Leo Saunders Ivan Sings …………………………..………… Aram Khatchaturian Gadget …………………………..…… Randall D. Standridge Sarah Jonath Jesu, Joy of Man’s Desiring (BWV 147) …………….…….J. S. Bach Portrait of a Clown ………………………….… Frank Ticheli Adam Jahovach Presto, op. 157 No. 4 ………………………..……….. Fritz Spindler Canto ……………………………..……… W. Francis McBeth Pablo Hansen Les Chevaux de Bois (Merry Go Round) …….……. Georges Bizet -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
The Jazz Messengers
The Jazz Messengers Steven Criado 2 décembre 2020 1 Introduction 1.1 Écoutes du 2 décembre 2020 — The Freedom Rider - Art Blakey & The Jazz Messengers (The Freedom Rider, enregistré en 61, sorti en 64) — United - Art Blakey & The Jazz Messengers (Roots & Herbs, enregistré en 61 pendant les sessions de Freedom Rider, sorti en 70) — Mr. Jin - Art Blakey & The Jazz Messengers (Indestructible, 1964) — I’m Not So Sure - Art Blakey & The Jazz Messengers (Anthenagin, 1973), écouter aussi la version de Roy Hargrove (Earfood, 2008) — Live des Jazz Messengers de 1974 au studio 104 de la Maison de la Radio (lien ci-dessous) — Witch Hunt - Art Blakey & The Jazz Messengers (Album of the Year, 1981) 2 Freedom riders — arrêt de la cour suprême qui interdit la ségrégation dans les transports, en contradiction avec la loi Jim Crow issue du code noir appliquée dans les états du sud — des militants prennent les bus inter-états en 61, un premier bus partant de Wahsington à la Nouvelle-Orléan, est arrêté dans l’Alabama, à Anniston. Pneu crevé, incendie provoqué par la foule, les militants qui s’échappent du bus sont battus, les blessés ont du quitter l’hôpital par crainte de représailles — l’enregistrement de l’album d’Art Blakey à lieu 3 semaines après 1 3 ANNÉES 70 ET 80 DES MESSENGERS 2 — civil right movement, mouvement des droits civiques formé dans les années 50 rassemblant toutes les organisations noires (N.A.A.C.P, Urban League, S.N.C.C., le C.O.R.E., S.C.L.C), poursuit la lutte contre la ségrégation raciale dans la loi américaine, accès à l’éducation, -
BENNY GOLSON NEA Jazz Master (1996)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BENNY GOLSON NEA Jazz Master (1996) Interviewee: Benny Golson (January 25, 1929 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 8-9, 2009 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 119 pp. Brown: Today is January 8th, 2009. My name is Anthony Brown, and with Ken Kimery we are conducting the Smithsonian National Endowment for the Arts Oral History Program interview with Mr. Benny Golson, arranger, composer, elder statesman, tenor saxophonist. I should say probably the sterling example of integrity. How else can I preface my remarks about one of my heroes in this music, Benny Golson, in his house in Los Angeles? Good afternoon, Mr. Benny Golson. How are you today? Golson: Good afternoon. Brown: We’d like to start – this is the oral history interview that we will attempt to capture your life and music. As an oral history, we’re going to begin from the very beginning. So if you could start by telling us your first – your full name (given at birth), your birthplace, and birthdate. Golson: My full name is Benny Golson, Jr. Born in Philadelphia, Pennsylvania. The year is 1929. Brown: Did you want to give the exact date? Golson: January 25th. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brown: That date has been – I’ve seen several different references. Even the Grove Dictionary of Jazz had a disclaimer saying, we originally published it as January 26th. -
Groovin' with Golson -Notes
Benny Golson Groovin' With Golson (Prestige) Groovin' With Golson Benny Golson, tenor sax; Curtis Fuller, trombone; Ray Bryant, piano; Paul Chambers, bass; Art Blakey, drums. 1. My Blues House (Benny Golson) 9:25 Produced by ESMOND EDWARDS 2. Drum Boogie (Krupa--Eldridge) 3:59 Cover Photo by ESMOND 3. I Didn't Know What Time It Was (Rodgers--Hart) EDWARDS 5:25 Recording by RUDY VAN 4. The Stroller (Benny Golson) 9:18 GELDER 5. Yesterdays (Kern--Harbach) 5:54 Recorded on August 28, 1959 By now the name of Benny Golson has become familiar to anyone who considers himself the least bit interested in the happenings of the contemporary jazz world. First it was Golson's arrangements which made an impact; songs like "Stablemates," "Whisper Not" and "I Remember Clifford" became standard parts of many a modern group's library. His arrangements for Dizzy Gillespie's band (1956-58 period) were notable and in 1958, he breathed life into the repertoire of Art Blakey's Jazz Messengers when, as a newly joined member, he brought his pen as well as his horn. With Blakey, Benny's playing began to open up, really "stretch out" as they say. In Groovin' With Golson, the emphasis is on blowing. The tunes were written or chosen with this in mind. "The lines are menat to be vehicles for blowing," says Benny. To make this type of recording date a success, the players, both the featured and the supporting, must be chosen with care. This Golson did and he has praise for all of them. -
Read the Preface and the Introduction (Pdf)
Excerpt • Temple University Press Preface FIRST HEARD Benny Golson’s exotic sound my freshman year at Princeton when Meet The Jazztet was published. Two years later, I Turning Point, his classic Mercury album with Miles Davis’s rhythm section—Wynton Kelly, Paul Chambers, and Jimmy Cobb—appeared and I became a lifelong admirer. Across more than five decades my respect has grown exponentially. In human terms, that’s a long time, merely a blink in eternity, which is what Benny Golson’s music addresses with relaxed, artistically precise lyric means. Maestro Golson is a deeply philosophical man. When you know him—and readers of his autobiography will learn from and about him in greater detail than the majority of his peers and predecessors have revealed about themselves—you soon recognize that the serious, contemplative fellow is counterbalanced by a jubilant, at moments hilarious, fellow. For a good chunk of his eighty-six years, Benny Golson was a prankster extraordinaire, the guy in the hood and in road bands who kept things on track by keeping everyone loose. Someone has to do that, and our man was among the comically best at making a positive difference with Art Blakey’s Jazz Messengers as well as with The Jazztet, which he co-led with Art Farmer. His presence was decisively felt, also, in Dizzy Gillespie’s late 1950s big band and, before that, in Earl Bostic’s aggregation. For anyone not yet aware of the profound and seminal friendship that Benny shared to the very end with John Coltrane, the narrative of two Golson_final text to MP_xvi_1_336_041116.indd 11 4/11/16 10:07 AM Excerpt • Temple University Press xii / Preface young musicians who matured together across their formative years is utterly beguiling. -
Little Karin Benny Golson
JAZZ AT LINCOLN CENTER’S ESSENTIALLY ELLINGTON LIBRARY Wynton Marsalis, Managing and Artistic Director, Jazz at Lincoln Center Little Karin Benny Golson Arranged by Quincy Jones As performed by Quincy Jones and His Orchestra Transcribed and Edited by Christopher Crenshaw for Jazz at Lincoln Center Full Score This transcription was made especially for Jazz at Lincoln Center’s 2018–19 Twenty-Fourth Annual Essentially Ellington High School Jazz Band Program. Jazz at Lincoln Center and Jazz Lines Publishing gratefully acknowledge the cooperation and support provided in the publication of this year's Essentially Ellington music series: Founding leadership support for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund. Major support is provided by Jessica and Natan Bibliowicz, Alfred and Gail Engelberg, Casey Lipscomb, Dr. J. Douglas White and the King-White Family Foundation, Cheryl and Louis Raspino, Augustine Foundation, Ella Fitzgerald Charitable Foundation, and Charles Evans Hughes Memorial Foundation. NOTES ON PLAYING ELLINGTON 4. In Ellington’s music, each player should express the individuality More than one on a part makes it sound more like a concert band of his own line. He must find a musical balance of supporting and and less like a jazz band. At least 95% of modern-day large ensemble jazz playing comes out following the section leader and bringing out the character of the of three traditions: Count Basie’s band, Duke Ellington’s band, and the 11. This is acoustic music. Keep amplification to an absolute minimum; underpart. Each player should be encouraged to express his or in the best halls, almost no amplification should be necessary.