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'Three Strike' Program Not Official by Kara Rosman This "New Alcohol Policy" Is Not Official
Local bar provides jazz scene Victory boosts Pac-10 confidence In playjpage 5 sports/pap 7, Vol. 107 No.5 A Student Publication of Washington State University since 1895 Thursday, August 31, 2000 'Three strike' program not official By Kara Rosman This "new alcohol policy" is not official. tion to many other leadership confer dents, agreed there is no official policy, ASWSU President Steve Wymer said ences on campus earlier this month. rather a set of guidelines WSU adminis It was a message that spread almost the rumor of a three-strike policy is sim Nowak said he was sending the mes tration has been working on since last as quickly as the news of WSU "drying ply not true. sage of a program Student Affairs plans year. up" four years ago. ''It's not a policy, and it shouldn't be to initiate. "We have been working on a compre Rumors of a new "Three Strikes, treated as such," Wymer said. "My only role is in trying to communi hensive, pro-active approach that You're Out" policy flew through the ears The rumored program includes tenni cate what I was told to residence hall and includes a series of increasing interven of almost every student, making many nating students who receive three crimi Greek students," Nowak said. tions," Bettas said. either worry or laugh. nal offenses, such as a minor in posses The "policy" is one of many ideas The guidelines include sending first "If you're dumb enough to get three sion or driving under the influence. -
CAPS Presentations - by Meeting Date
CAPS Presentations - by Meeting Date Meeting DatePresenter(s) Presentation Type Location 1982 January 10 Jeff Healey Hot Dance Records Records - Listening Trace Manes Club House February 21Bas Ingrouille Guess the Artist and Take Home the Record Records - Listening Oshawa Civic Auditorium April 4Paul Dodington Lesser-Known Makes of Cylinders Records - History Trace Manes Club House May 16Bruce Bland Victor Electric Dance Records 1925-1929 Records - Listening Oshawa Civic Auditorium June 20CAPS Members Present a Treasure from Your Collection Phonographs - Display Trace Manes Club House September 12Don Woodrow Demonstration of an Upright Sonora Talking Machine Phonographs - Display Donevan Sports Complex October 24Steven C. Barr Canadian Content Recordings Records - Listening Trace Manes Club House December 5CAPS Members The Creativity of CAPS Members: Construction, Repair and Refinishing of Phonographs Phonographs - Repair Donevan Sports Complex 1983 January 16 Ernie Spicer Video - The Wizard Who Spat on the Floor (Life of Edison) Video Trace Manes Club House February 27Bernie Power John McCormack Recording Artist Donevan Sports Complex April 10Jeff Healey Entertainers of the Early 1920s Records - Listening Trace Manes Club House May 15Merritt Malvern Re-Recording in Edison's Laboratory Records - Manufacture Donevan Sports Complex June 19Milford Fargo The Sound of Music: A Multimedia Presentation Music History Trace Manes Club House September 11Steven C. Barr These Are a Few of My Favourite Things (78 rpm Recordings) Records - Listening -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Steven Heffner, Bassist 2 Andover Rd
Steven Heffner, Bassist 2 Andover Rd. Apt B3 | Athens, OH 45701 | (509) 521-0520 [email protected] and stevenheffner.com Personal Summary I am an educator and performer with experience in arranging and composing. Versatility is key to my success and it is paramount to my philosophy of education. Through emphasizing collaboration with other disciplines, promoting musical entrepreneurship, and encouraging multi-genre musical experiences, I give my students the best possible preparation for their musical goals. As an artist, I work to provide examples of transcendent musical moments to captivate and inspire the motivations of my students as well as to fulfill my own artistic aims. Education 2009 Master of Arts in Jazz Pedagogy Thesis: Approaching the Bass: A Book for Students and Teachers Eastern Washington University in Cheney, WA 2006 Bachelor of Music in Instrumental Performance: Bass (summa cum laude) Eastern Washington University in Cheney, WA 2003 Columbia Basin College in Pasco, WA Associate of Arts and Sciences Professional Teaching Experience 2015-present Adjunct Instructor, West Virginia Wesleyan College Applied Bass Instruction Teach applied jazz and classical bass to music majors Evaluate juries, recitals, and general progress Studio Classes Present weekly sessions on listening, peer performance, and group playing experiences String Methods Instruct music education majors on fundamental techniques for the violin family including methods for instructing young students and beginning string programs 2013-present Adjunct Instructor, -
The Integration of Improvisation Into Through-Composed Music
Different Every Time: The Integration of Improvisation into Through-Composed Music. ANALYTICAL NOTES (volume 1) Paul Cutlan A portfolio of compositions submitted in Partial fulfilment of requirements for the degree of Master of Music (Composition) Conservatorium of Music University of Sydney 2012 ii STATEMENT OF ORIGINALITY: I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed:……………………………………………………………… Date:………………………………………………………………….. iii ABSTRACT: The aim of this research project has been to write a portfolio of compositions which integrate improvisation with through-composed contemporary classical techniques. The intended result is that the improvised elements aid the development and outcome of the musical argument and help contribute to the architectural structure of each piece in performance. The stylistic elements and structure of the compositions should embrace the aesthetics of improvisation in a way that promotes both coherence and flexibility. Although the written score is an important document of the composer’s intentions, equal importance is placed on the process of creative realisation. It is in performance that the benefits of improvisation can be evaluated in each piece. These will include elements of spontaneity, a heightened sense of engagement of both performers and audience, and unpredictable outcomes. Above all, the integration of improvisation into the compositions will lead to each performance being a unique experience. iv Acknowledgements: I would like to thank my supervisor Dr. Trevor Pearce at the Sydney Conservatorium of Music for his guidance and patience, and for nourishing the sense of creative curiosity in me. -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr. -
L'aan a DAILY All Law-Flaunting Criminals Vol
WEDNESDAY Commentary: We are l'aAN a DAILY all law-flaunting criminals Vol. I 00, NO. 14 Published for San Jose State University since 1934 WednesIty, February 16,1993 High-tech learning to save money BY PAUL WOTEL Spartan Daily Staff Writer While the state's budget wreaks havoc on the CSU sys- tem, faculty and administrators are seeking new solutions to current teaching problems. Project DELTA (Digital Electronic Learning Teaching Alternative) is a plan to meet the CSU's enrollment, facul- ty, budget and deficit concerns, said John Eaird, director of the Institute for Teaching and Learning. Still in the planning phase, the project may entail inter- active software programs implemented in large classrooms or to reach students in remote locations, he said. "You need to have interaction (between students and teachers). I see computers playing a key role but not over- taking the role of the instructor," Eaird said. He attended a conference of faculty members to discuss the project and goals and sample its software programs. Eaird said the programs were very exciting. "We have a real opportunity to explore new technology:' he said. "But learning has to be the key, not efficiency." Some students like the flexibility of not having to sit in a classroom so they can go back and cover things that might have given them trouble, Eaird said. "I think we gave them a lot of feedback" at the confer- PHOTOGRAPHS BY JENIF ER LAPOLLA SPARTAN DAILY ence, Eaird said. Unfortunately, some people in Sacramen- Tina Miller, an occupational therapy senior, works with a patient dur- ers to improve his motor functions. -
Vers Une Symbiose De La Composition Et De L'improvisation Dans Cinq
Université de Montréal Vers une symbiose de la composition et de l’improvisation dans cinq œuvres de musique de concert par Jérôme Blais Faculté de musique Thèse présentée à la Faculté des études supérieures en vue de l’obtention du grade de Docteur en musique, option composition août 2003 © Jérôme Blais 2003 Université de Montréal Faculté des études supérieures Cette thèse intitulée : Vers une symbiose de la composition et de l’improvisation dans cinq œuvres de musique de concert présentée par : Jérôme Blais a été évaluée par un jury composé des personnes suivantes : Thèse acceptée le : …………………………… iv RÉSUMÉ La composition et l'improvisation représentent deux pratiques musicales considérées comme indissociables dans la plupart des musiques, et ce, depuis toujours. Cependant, à partir de la seconde moitié du XVIIIème siècle, l'improvisation joue un rôle de plus en plus discret dans la musique de concert occidentale, jusqu'à en être totalement exclue de 1800 à 1950. Ce n'est qu'après la Seconde Guerre mondiale que de nombreux compositeurs occidentaux cherchent à réintroduire une certaine forme de spontanéité dans leurs oeuvres écrites, principalement par le biais de la musique dite aléatoire. Malgré ces démarches, composition et improvisation n'en demeurent pas moins perçues, dans la musique « sérieuse » d'aujourd'hui, comme deux façons bien distinctes de penser la musique. Ce doctorat propose donc, à travers cinq œuvres, un parcours menant à une réunification de ces deux pratiques. Je me suis inspiré, pour ce travail, des principaux courants historiques de l’improvisation, tels la musique baroque, le jazz ou les musiques de tradition orale, que j’ai intégrés dans un langage musical personnel et cohérent. -
Harold MABERN: Teo MACERO
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Harold MABERN: "Workin' And Wailin'" Virgil Jones -tp,flh; George Coleman -ts; Harold Mabern -p; Buster Williams -b; Leo Morris -d; recorded June 30, 1969 in New York Leo Morris aka Idris Muhammad 101615 A TIME FOR LOVE 4.54 Prest PR7687 101616 WALTZING WESTWARD 9.26 --- 101617 I CAN'T UNDERSTAND WHAT I SEE IN YOU 8.33 --- 101618 STROZIER'S MODE 7.58 --- 101619 BLUES FOR PHINEAS 5.11 --- "Greasy Kid Stuff" Lee Morgan -tp; Hubert Laws -fl,ts; Harold Mabern -p; Boogaloo Joe Jones -g; Buster Williams -b; Idriss Muhammad -d; recorded January 26, 1970 in New York 101620 I WANT YOU BACK 5.30 Prest PR7764 101621 GREASY KID STUFF 8.23 --- 101622 ALEX THE GREAT 7.20 --- 101623 XKE 6.52 --- 101624 JOHN NEELY - BEAUTIFUL PEOPLE 8.33 --- 101625 I HAVEN'T GOT ANYTHING BETTER TO DO 6.04 --- "Remy Martin's New Years Special" James Moody Trio: Harold Mabern -p; Todd Coleman -b; Edward Gladden -d; recorded December 31, 1984 in Sweet Basil, New York it's the rhythm section of James Moody Quartet 99565 YOU DON'T KNOW WHAT LOVE IS 13.59 Aircheck 99566 THERE'S NO GREEATER LOVE 10.14 --- 99567 ALL BLUES 11.54 --- 99568 STRIKE UP THE BAND 13.05 --- "Lookin' On The Bright Side" Harold Mabern -p; Christian McBride -b; Jack DeJohnette -d; recorded February and March 1993 in New York 87461 LOOK ON THE BRIGHT SIDE 5.37 DIW 614 87462 MOMENT'S NOTICE 5.25 --- 87463 BIG TIME COOPER 8.04 --- 87464 AU PRIVAVE -
CATALOG 1994-96 William Paterson College Does Not Discriminate on the Basis of Race, Color, Age, Sex, Religion, Creed, National Origin Or Handicap
UNDERGRADUATE CATALOG 1994-96 William Paterson College does not discriminate on the basis of race, color, age, sex, religion, creed, national origin or handicap. College policies and practices are consistent with federal and state laws pertaining to equal oportunity in admission and education policies, scholarship, loan, athletic and other school·administered programs. Specifically, William Paterson College complies with Title IX of the Education Amendments of 1972, Section 504 of the Vocational RehabilitationAct of 1973 ,Title VI of the Civil RightsAct of 1964 and their respective implementing regulations. The College reserves the right to make changes in its academic program, courses, schedules, fees or calendar. With respect to such changes, students have a continuo ing right to pursue programs in the form that appied at the time of their matriculation or to choose program changes that occur subsequently. For additional information and applications, write or call: Office ofAdmissions William Paterson College Wayne, New Jersey 07470 (201)595-2125 Dear Student, Every William Paterson College student is provided an Undergraduate Catalog upon enrollment. This is the only copy of the current catalog you will automatically receive during your studies at the College. Should your copy become damaged, or should you misplace it, you may purchase a new copy at the WPC Bookstore, located in the Student Center. Always remember to bring your catalog to registration. Best wishes for success, Office of Admissions General Information .................................. 7 School of the Arts and Communication ................................... 43 School of Education ................................ 70 School of Humanities, Management and Social Sciences .............................. 80 School of Science and Health ................ 135 Directories ... ......................... ................ 179 Maps ..................................................... -
April 2010.Pmd
File Photo New-Trad Octet mixes brass bands and jazz Singer Angela Hagenbach will front a ○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○○○○○○○○ KC sextet June 15 in Lincoln. ○○○○○○○○○○○○○○○○○○○○○○ LINCOLN, Neb.—More than 30 Courtesy Photo April 2010 years have passed since jazz saxophon- Vol. 15, Number 2 ist Jeff Newell left Nebraska for more fruitful career opportunities—first in Chicago, then in New York City—but he has never forgotten the places and In this issue people who so influenced his formative Five concerts in Jazz in June....................3 years in the Cornhusker State. Clawfoot House brings arts to hood.....4 He soon will return to Lincoln for Jeff Newell brings his New-Trad Octet the first time in four years, leading his to Lincoln for June 22 performance. King Sunny Ade set to rock Lincoln......6 New-Trad Octet for a June 22 perfor- Tomfoolery: Heading to festivals........7 mance at this year’s Jazz in June se- classic Jazz Orchestra, and even toured Mary Pipher pays tribute to Jarvis.........8 ries. In addition to Newell’s alto sax, Europe with the big band. In addition to ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ the octet also features trumpet, bass the 2006 concert, he returned as guest Jane Jarvis leaves legacy of music........9 trumpet, tuba, keyboards, bass and soloist in 1991 and 1994. Essay on “Invisible Man”....................10 drums, a modern brass band lineup that The New-Trad Octet has never 2nd Berman Ping Pong tourney...........11 should be perfect for the outdoor venue, made the trip to Nebraska, though Matt Wilson Quartet review.................12 a grassy sculpture garden just west of Newell formed the group some 16 years Sheldon Museum of Art on the Univer- ago as a vehicle for his arranging skills.