1 Curriculum Vitae for Lynn Seaton Jazz Studies, University of North
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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 -
Primoz Bioeng
Guitar player Primož Graši č was born in 1968 in Kranj, Slovenia. After high school in Kranj he went abroad and studied guitar at the Klagenfurt Conservatirium. Very soon jazz bands and orchestras became aware of the young but very talented musician and so after his studies he imediately became a member of the “Greentown Jazz Band”.' He was then cooperating with the “Dixieland” band from Kranj. His music career flurished after this and we can only share his biggest achievements with you. In the years 1991 – 93 he was a member of the “Ugrin-Divjak Quintet” and has regularly been cooperating with the “Big Band of RTVS (Radio Television Slovenia)” since 1992 he is also a member of “Boško Petrovi č's All Stars Band”, of “Ratko Divjak's Ensemble ”, the “Dominik Kranj čan Quartet”, “SLO Jazz Project” and has been cooperating as a studio musician at many recordings of such bands as the “Big Band RTVS”, the “Big Orchestra” and the “Symphonic Orchestra of RTVS”, the “New Swing Quartet”, “Vocal Art”, “Alenka Godec”, “Darja Švajger”, “Janez Bon čina”, “Marta Zore”… Since April 1998 he has been a full-time member of “Big Band RTV Slovenija” and the “Big Orchestra of RTV Slovenija”. In cooperation with Janez Bon čina-Ben č he has received two awards for his arrangements from International Professional Juries. In 1995 he was nominated for the musical award “Zlati petelin” (Golden Rooster) for the best arrangement of a foreign song. He was then cooperating with the “Jože Privšek Orchestra” at concerts in Portorož and in Ljubljana’s “Cankarjev Dom ” and also as a studio musician at their recordings of more than sixty albums.In July 1993 he was performing at one of the biggest jazz festivals in Europe, in Perrugia,Italy. -
Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms. -
Jeff Rupert Bio
Jeff Rupert Bio Saxophonist Jeff Rupert is a YAMAHA performing artist. Performing and recording credits include associations with Diane Schuur, Mel Tormé, Kevin Mahogany, Ernestine Anderson, and Benny Carter’s Grammy winning Harlem Renaissance . Jeff Rupert toured for fifteen years with Sam Rivers ; four albums ensued, and from 1997- 2002 he toured and recorded with Maynard Ferguson . Jeff Rupert’s six recordings as a leader have all charted on Jazz Week . Do That Again! was #39 out of the top 100 jazz albums of 2014 , and En Plein Air: The Jazz Professors play Monet charted on Jazz Week to #29 . Performance venues include the Blue Note, Birdland, Carnegie Hall, Lincoln Center, the Kennedy Center, the Tokyo Forum, the National concert hall of Taipei, Taiwan, and jazz festivals in Europe, Israel, Australia, New Zealand and Japan. Rupert’s latest release Imagination is a collaboration with pianist Richard Drexler. As a composer and arranger, Rupert has written for Bob Berg, James Moody, Maynard Ferguson, Kenny Drew Jr, Kevin Mahogany and Judy Carmichael. Rupert has produced four big band albums for the Flying Horse Big Band, all featuring original compositions and arrangements. Jeff Rupert is Pegasus Distinguished Professor, Trustee Endowed Chair, and Director of Jazz Studies at the University of Central Florida (UCF), and founder of Flying Horse Records. “Jeff Rupert has a classic tenor sound, the virtuosity to execute practically any musical idea, and the imagination to make those ideas worth hearing.” Ed Berger, the Institute of Jazz Studies. “Jeff Rupert, he is dynamite!” Mel Torme. “From the moment I first heard Jeff Rupert with my band I considered him one of the great jazz players of today.” Maynard Ferguson. -
Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band
Cornet Chop Suey – Biographies The Cornet Chop Suey Jazz Band has enjoyed a meteoric rise in popularity since its arrival on the jazz scene in 2001. The band's unique front line with Brian Casserly on trumpet, Tom Tucker on cornet, Jerry Epperson on reeds and Brett Stamps on trombone is driven by a powerful rhythm section consisting of Paul Reid on piano, Al Sherman on bass and John Gillick on drums. Best known for a wide variety of styles, Cornet Chop Suey applies its own exciting style to traditional jazz, swing, blues and "big production" numbers. Every performance by Cornet Chop Suey is a high-energy presentation and is always a memorable experience for the audience. Named after a somewhat obscure Louis Armstrong composition, Cornet Chop Suey now has six CD's available. The "St. Louis Armstrong" CD includes many of the tunes performed in the special Louis Armstrong show. The band is in great demand at jazz festivals, jazz cruises, conventions and concerts around the country. Brian Casserly, who also goes by the name "Big B" plays trumpet, trombone and is also a vocalist with the band. A professional musician since the age of 14, Brian has played for many greats in the music business, including Tony Bennett,Tex Beneke, Stan Kenton, Chuck Berry and even Tiny Tim. He has also played the prestigious Monterey Pops Festival for several years. An in-demand session musician, Brian has performed in many commercials, recordings and musicals in the U.S. and Canada and is the past musical director for the S.S. -
Undercurrent (Blue Note)
Kenny Drew Undercurrent (Blue Note) Undercurrent Freddie Hubbard, trumpet; Hank Mobley, tenor sax; Kenny Drew, piano; Sam Jones, bass; Louis Hayes, drums. 1. Undercurrent (Kenny Drew) 7:16 Produced by ALFRED LION 2. Funk-Cosity (Kenny Drew) 8:25 Cover Photo by FRANCIS WOLFF 3. Lion's Den (Kenny Drew) 4:53 Cover Design by REID MILES 4. The Pot's On (Kenny Drew) 6:05 Recording by RUDY VAN GELDER 5. Groovin' The Blues (Kenny Drew) 6:19 Recorded on December 11, 1960, 6. Ballade (Kenny Drew) 5:29 Englewood Cliffs, NJ. The quintet that plays Kenny Drew's music here had never worked as a unit before the recording but the tremendous cohesion and spirit far outdistances many of today's permanent groups in the same genre. Of course, Sam Jones and Louis Hayes have been section mates in Cannonball Adderley's quintet since 1959 and this explains their hand-in- glove performance. With Drew, they combine to form a rhythm trio of unwavering beat and great strength. The two hornmen are on an inspired level throughout. Hank Mobley has developed into one of our most individual and compelling tenor saxophonists. His sound, big and virile, seems to assert his new confidence with every note. Mobley has crystallized his own style, mixing continuity of ideas, a fine sense of time and passion into a totality that grabs the listener and holds him from the opening phrase. Freddie Hubbard is a youngster but his accomplished playing makes it impossible to judge him solely from the standpoint of newcomer. This is not to say that he is not going to grow even further as a musician but that he has already reached a level of performance that takes some cats five more years to reach. -
En Vogue Ana Popovic Artspower National Touring Theatre “The
An Evening with Jazz Trumpeter Art Davis Ana Popovic En Vogue Photo Credit: Ruben Tomas ArtsPower National Alyssa Photo Credit: Thomas Mohr Touring Theatre “The Allgood Rainbow Fish” Photo Courtesy of ArtsPower welcome to North Central College ometimes good things come in small Ana Popovic first came to us as a support act for packages. There is a song “Bigger Isn’t Better” Jonny Lang for our 2015 homecoming concert. S in the Broadway musical “Barnum” sung by When she started on her guitar, Ana had everyone’s the character of Tom Thumb. He tells of his efforts attention. Wow! I am fond of telling people who to prove just because he may be small in stature, he have not been in the concert hall before that it’s a still can have a great influence on the world. That beautiful room that sounds better than it looks. Ana was his career. Now before you think I have finally Popovic is the performer equivalent of my boasts lost it, there is a connection here. February is the about the hall. The universal comment during the smallest month, of the year, of course. Many people break after she performed was that Jonny had better feel that’s a good thing, given the normal prevailing be on his game. Lucky for us, of course, he was. But weather conditions in the month of February in the when I was offered the opportunity to bring Ana Chicagoland area. But this little month (here comes back as the headliner, I jumped at the chance! Fasten the connection!) will have a great influence on the your seatbelts, you are in for an amazing evening! fine arts here at North Central College with the quantity and quality of artists we’re bringing to you. -
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. -
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. -
Freddie Green Chords
Swinging Strategies for Jazz Ensemble Guitarists Dave Ness, presenter Outline I. Freddie Green A. THE Big Band Swing Style B. Count Basie II. Equipment A. Guitar 1. Full Hollow-body Guitar 2. Amp III. Chords for Swing charts A. Freddie Green Style 1. 4 to the bar 2. Chord Shapes 3. 5th and 6th String 4. Theory 5. Tablature and chord charts B. Bb Blues examples C. Freddie Green listening Example “Hail to the Chief” IV. Reading Notes A. All the Notes in 1st position V. Other styles A. Bossa 1.Girl From Ipanema Dave Ness [email protected] [email protected] Chicago Jazz Magazine said of Dave Ness, “there is no denying his superlative skill on the guitar.” A sought-out educator and clinician for nearly 25 years, Dave has directed jazz ensembles for several colleges and high schools, including Northwestern University and Carthage College. Dave has been studying Freddie Green guitar style since 1990 and in 1999 his article on Freddie Green was published in the Jazz Educators Journal. Currently Dave teaches guitar and jazz ensemble as well as AP Music Theory and Music Production and Sound Engineering at Libertyville High School. Dave has released three albums (with all original compositions) with the Dave Ness Trio: “Sketches,” “Layers,” and his 2018 release “Grooveness.” His website can be found at www.daveness.net Freddie Green: Birth of a Style by David Ness Background Frederick William Greene, born 1911, anchored Count Basie’s rhythm section from 1937 until his death in 1987 with few interruptions. A self-taught guitarist, Green (as he preferred to spell it) was a devoted member of the band. -
Crowd Pleaser Thousands Flock to Princeton for Food and Jazz by Tony Mottola Editor Jersey Jazz
Volume 35 • Issue 10 November 2007 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Crowd Pleaser Thousands flock to Princeton for food and jazz By Tony Mottola Editor Jersey Jazz Princeton JazzFeast 2007 — story on page 26. Free for members! inset: photo Alan Dale. Photos by Tony Mottola. NJJS Annual Meeting SUNDAY, DECEMBER 2 • CONCERT see pp 3, 8, 49 ARTICLES Ellingtonia on the Net . 32 Institute of Jazz Studies/ Snuffy’s . 23 in this issue: Classic Stine. 9 Crow’s Nest . 49 Jazz from Archives. 49 CTS Images . 24 NEW JERSEY JAZZ SOCIETY Meadowbrook Swings Again. 9 REVIEWS Somewhere There’s Music . 50 Lana’s Fine Dining . 25 Pres Sez/NJJS Calendar Big Band in the Sky . 10 D. Sherman/KT Sullivan . 34 The Name Dropper . 51 Community Theatre. 33 NH Library of Traditional Jazz . 14 Glen Rock Inn . 34 & Bulletin Board. 2 CDs: Compact Views/ ADVERTISERS Talking Jazz with Anat Cohen . 16 Other Views . 36 Arbors Records . 35 November 18 Member Meeting . 3 Cornerstone. 5 The Mail Bag/Jazz Trivia. 4 Dan’s Den . 22 DVDs: Jazz Icons/ Jazzdagen Tours. 39 Yours for a Song . 24 Improvisation . 40 Shanghai Jazz. 7 46 Lounge . 43 Editor’s Pick/Deadlines/NJJS info . 6 35th Anniversary Dinner Dance. 28 September Member Meeting . 46 Whiskey Café. 11 PA Jazz Society . 44 Notes from the Music Committee . 8 Riverwalk Jazz on WBGO. 30 EVENTS Cedar Grove Elks/Meadowbrook. 13 Atlanta Jazz Party . 45 In the Mainstream. 44 Giants of Jazz at the Baird . 30 ’Round Jersey: Bridgewater, Trumpets . -
Upcoming Events
Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. Address: 2521 Port Street, West Sacramento, CA 95691•(916)444-2004•www.sacjazz.org VOLUME49•NO.7 August 2017 Jazz Sunday, August 6 (FIRST Sunday!) Note from The President …..……...2 Week Two STJS Jazz Campers Concert and ElksLodge#6–info/directions ....... 2 The Professors The Professors …………………………..3 Raffle Cent$.................................8 Race for the Art Pictures…………….8 Membership Application…….……13 Upcoming Events: July 23-29 Week 1 STJS Teagarden EEachy E Youth Jazz Camp Each year when the jazz camps conclude, we are treated to a special July 29 Week 1 STJS Jazz Campers Concert and The Counselors Jazz Jazz Sunday that features not only The Professors both youth Band campers and counselors as well. August Jazz Sunday is one of the July 31–Aug 6 Week 2 - STJS best STJS events of the year. The place is buzzing with excitement Teagarden Youth Camp from a productive and fun-filled week at Jazz Camp amid the scenic Aug 6 (First Sun) Week 2 STJS Jazz beauty of Pollock Pines. Campers have been making new friends Campers Concert and The Professors while counselors (former campers) are having a blast reuniting with their musician friends. Sept 10 – Skin ‘n Bones (Gonsoulin) Oct 8 – Pub Crawlers Our Jazz Camp Faculty is loaded with all-star talent, and we are Nov 12 – Youth Jazz Day incredibly fortunate to have them all here together as our guest Dec 10 – Gold Society Jazz band.