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Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated -
Second Wind: a Tribute to E Music of Bill Evans
Chuck Israels Jazz Orchestra contribution to Evans’ body of work. Second Wind: A Tribute To e Music Israels, of course, was the replacement for the Of Bill Evans legendary Scott LaFaro, who died in a car accident SOULPATCH in 1961, the loss of a friend and creative partner ++++ ½ that had devastated Evans. Eventually he found his footing with Israels, who had worked with As the famous album title has it, everybody digs Bill Evans. a who’s who of greats including Billie Holiday, But not everybody has su#ciently dug Chuck Israels, Evans’ Benny Goodman, Coleman Hawkins and John great, underappreciated bassist from his second trio (1962– Coltrane. Besides being a brilliant technician with 1966). is album, Israels’ return to full-time performing a wonderful round tone, Israels was an exquisitely aer a 30-year teaching career, should win him new fans for sensitive musical partner who helped bring out the his prodigious skills as both arranger and bassist, even as it best in the introspective Evans. Aer his stint with serves to remind longtime Evans devotees of his signi!cant Evans, Israels studied composition and arrang- ing with Hall Overton, who arranged elonious Monk compositions for a tentet at Monk’s tri- umphant 1959 Town Hall concert. Later, Israels became a pioneer of the jazz repertory movement, founding and leading the National Jazz Ensemble from 1973 to 1981. Although Israels has played Evans tunes with others (notably Danish pianist omas Clausen on the excellent 2003 trio album For Bill ), this is the !rst time he has orchestrated a whole album of songs associated with or inspired by Evans for a larger ensemble. -
Of Audiotape
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something. -
Volume 34, Number 07 (July 1916) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1916 Volume 34, Number 07 (July 1916) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 34, Number 07 (July 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/626 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ----- Price 15 Cents 1 473 THE ETUDE PRESSER’S MUSICAL MAGAZINE CONTENTS FOR JULY 1916 World of Music . Success Guides.G. if. Grecnhalyh A Practice Hour of Pleasure.C. W. London Can You Pass This Examination .'. The Part the Piano Should Pla^. .J. K. MacDonald The Layman's Attitude T W.’ R. Bpaldint Teaching Use of Bass Clef.Russell Carter 482 The Effect of Mechanical Ins :s Upon Musical jojuucu Lion.(Symposium) Royal Performers on the Flute. The Real Meaning of Rhythm.. .Lerou B. Campbell A Useful Finger Exercise.Wilbur F. Unger Discouraging the Pupil.Edna J. Warren Can There Be Any Real New Music?... How Parents Can Help...Geo. -
JAZZ EDUCATION in ISRAEL by LEE CAPLAN a Thesis Submitted to The
JAZZ EDUCATION IN ISRAEL by LEE CAPLAN A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ ___________________________________ Newark, New Jersey May,2017 ©2017 Lee Caplan ALL RIGHTS RESERVED ABSTRACT OF THE THESIS JAZZ EDUCATION IN ISRAEL By LEE CAPLAN Thesis Director Dr. Henry Martin Jazz Education in Israel is indebted to three key figures – Zvi Keren, Arnie Lawrence, and Mel Keller. This thesis explores how Jazz developed in Israel and the role education played. Jazz Education in Israel discusses the origin of educational programs such as the Rimon School of Jazz and Contemporary Music (1985) and the New School Jazz Program (1986). One question that was imperative to this study was attempting to discover exactly how Jazz became a cultural import and export within Israel. Through interviews included in this thesis, this study uncovers just that. The interviews include figures such as Tal Ronen, Dr. Arnon Palty, Dr. Alona Sagee, and Keren Yair Dagan. As technology gets more advanced and the world gets smaller, Jazz finds itself playing a larger role in humanity as a whole. iii Preface The idea for this thesis came to me when I was traveling abroad during the summer of 2015. I was enjoying sightseeing throughout the streets of Ben Yehuda Jerusalem contemplating topics when all of a sudden I came across a jam session. I went over to listen to the music and was extremely surprised to find musicians from all parts of Europe coming together in a small Jazz venue in Israel playing bebop standards at break-neck speeds. -
23. Other Major Players
23. Other Major Players s the 21st century began, a small army of jazz "Woody never told us in advance what tunes we would artists from Cleveland were making their marks play," said Fedchock, "but the band would know what A on world jazz stages. Perhaps never before had the upcoming number was after a couple ofwords ofthe so many excellent musicians from Cleveland received little rap he gave the audience." such widespread recognition simultaneously. After touring with the Herman Herd for a couple of In addition to Joe Lovano, Jim Hall and Ken years, Fedchock wrote his first arrangement for the Peplowski, there were many world class musicians from band, a tune called "Fried Buzzard." Cleveland playing and recording. Some traveled In 1985, when Woody was doing a small group tour, extensively; others remained in their hometown and Fedchock returned to Eastman and fmished up his made Cleveland their base of operations. masters. Here is a closer look at some of them: Five months later, he returned to the Herman Orchestra and became Herman's music director and an John Fedchock arranger. He did 16 or 17 charts for the band. Looking In 1974, when Woody back, Fedchock said, "Woody didn't like to do the old Herman and his Orchestra stuff." were in Cleveland for a series In a radio interview, Herman said, "We try to find of performances, they went new material and try to find things that are reasonably to Mayfield High School on new and different. I think that I would have lost interest Wilson Mills Road to playa a long, long time ago if I had been very stylized and concert and conduct a clinic. -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
17-12-01 Musical Instruments & Suppliespdf
CONROE INDEPENDENT SCHOOL DISTRICT TABULATION RFP #17-12-01 - MUSICAL INSTRUMENTS AND SUPPLIES TOTAL Supplier QTY UOM Unit Price Extended Manufacturer Manuf Num EVALUATION SCORE Pianos, 48 inch Acoustical Upright with Bench; 88 Keys; Acrylic Resin White Key Surface; phenolic Resin Black Key Surface; Shift, Muller, Yamaha or 1 B3PE with J4010 Dolly Damper Pedal Type; Polished Ebony Finish; 60 inch W x 48 inch H x 24 Approved Equal inch D; Installed Dolly Romeo Music - Alternate 8 Each $5,500.00 $44,000.00 Baldwin 243e 88 Fort Bend Music Center (Cochran & 8 Each $5,339.00 $42,712.00 82 Cochran Ent. Inc) Alamo Music Center - Alternate 8 Each $4,810.00 $38,480.00 Pearl River EU122 polished ebony 81.5 Piano, Grand; 88 Keys; Ivorite White Key Surface; WPC Black Key Surface; Damper, Sostenuto, Shift Pedal Type; Double Caster; Prop Safety Stop on Yamaha or 2 C6X Lid; Key Cover: Lid Fallboard Locks, Soft Close Fallboard; 4 Back Posts; Approved Equal Polished Black Finish; Bench Alamo Music Center - Alternate 1 Each $24,850.00 $24,850.00 Ritmuller GH212R 87 Fort Bend Music Center (Cochran & 1 Each $43,539.00 $43,539.00 62 Cochran Ent. Inc) Piano, Baby Grand Digital; Supernatural Piano Modeling Sound; 307 Tones; Wood and Plastic Hybrid Structure Keyboard with Escapement and Ebony/Ivory Feel; 88 Keys; Progressive Damper Action Pedal; Acoustic Roland or 3 GP-607-PEC Projection; 113dB Volume Level; 363 Internal Songs; Bluetooth Version Approved Equal 3.0; AC Adapter; 55 7/16 inches W x 37 3/8 inches D x 59 15/16 inches H; Black Finish; Bench Included Romeo Music 1 Each $4,450.00 $4,450.00 86 Fort Bend Music Center (Cochran & 1 Each $3,689.00 $3,689.00 Yamaha CLP665GP 85 Cochran Ent. -
Stardigio Program
スターデジオ チャンネル:445 モダンジャズ 放送日:2020/01/13~2020/01/19 「番組案内 (3時間サイクル)」 開始時間:4:00~/7:00~/10:00~/13:00~/16:00~/19:00~/22:00~/25:00~ 楽曲タイトル 演奏者名 ■ウィンタージャズセレクション(3) ~ピアノの詩人:ビル・エヴァンス・ベスト・ジャズ・セッション~ ON GREEN DOLPHIN STREET MILES DAVIS VERY EARLY BILL EVANS TRIO (Bill Evans, Chuck Israels, Paul Motian) I COULD HAVE DANCED ALL NIGHT CHET BAKER (from My Fair Lady) -一晩中踊れたら- SKATING IN CENTRAL PARK BILL EVANS & JIM HALL STRAIGHT LIFE JULIAN ADDERLEY QUINTET ISRAEL BILL EVANS TRIO (Bill Evans, Scott LaFaro, Paul Motian) SO WHAT MILES DAVIS NIGHT AND DAY STAN GETZ & BILL EVANS SPARTACUS LOVE THEME from Bryna Productions Bill Evans With Jeremy Steig "SPARTACUS"(スパルタカス 愛のテーマ) TENDERLY BILL EVANS TRIO (Bill Evans, Sam Jones, Philly Joe Jones) I'VE NEVER BEEN IN LOVE BEFORE THE EDDIE COSTA QUARTET with BILL EVANS HOW HIGH THE MOON JIMMY KNEPPER with BILL EVANS PERI'S SCOPE BILL EVANS TRIO (Bill Evans, Scott LaFaro, Paul Motian) MARTINA BILL EVANS NARDIS (take 5) Julian Cannonball Adderley Quintet ELSA BILL EVANS TRIO (Bill Evans, Scott LaFaro, Paul Motian) SNO' PEAS BILL EVANS & TOOTS THIELEMANS IN A SENTIMENTAL MOOD THE DAVE PIKE QUARTET with BILL EVANS RE: PERSON I KNEW BILL EVANS TRIO (Bill Evans, Chuck Israels, Paul Motian) NANCY (WITH THE LAUGHING FACE) Julian"Cannonball"Adderley with Bill Evans PENSATIVA BILL EVANS TRIO with LEE KONITZ & WARNE MARSH BLUE IN GREEN MILES DAVIS LOVER MAN Herbie Mann & The Bill Evans Trio THANK HEAVEN FOR LITTLE GIRLS (from Gigi) CHET BAKER WALTZ FOR DEBBY BILL EVANS SOMEDAY MY PRINCE WILL COME BILL EVANS TRIO (Bill Evans, Scott LaFaro, Paul Motian) Comrade Conrad BILL EVANS ALONE TOGETHER CHET BAKER with BILL EVANS Theme From M*A*S*H (aka Suicide Is Painless) BILL EVANS [M*A*S*Hのテーマ] TURN OUT THE STARS BILL EVANS & JIM HALL *著作権法上、番組の録音は個人的に楽しむ場合を除き禁じられています。. -
Musical Humility
© Copyright 2018 William J. Coppola Musical Humility: An Ethnographic Case Study of a Competitive High School Jazz Band William J. Coppola A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Patricia Shehan Campbell, Chair Steven J. Morrison James A. Banks Shannon Dudley Program authorized to offer degree: Music University of Washington Abstract Musical Humility: An Ethnographic Case Study of a Competitive High School Jazz Band William J. Coppola Chair of the Supervisory Committee: Patricia Shehan Campbell School of Music In any form, musical participation is an intimately social activity. Yet, as musicians unflinchingly commit their fullest selves to shared musical collaborations, the natural human penchant for self-interest inevitably comes along for the journey, threatening to compromise collectivistic desires with more egocentric comportments. Undeniably, the ego plays an inextricable—and at times antagonistic—role in the negotiation of musicians’ performed identities. But as pervasive as the ego may be throughout various spheres of musical practice, it has yet to become a topic of empirical music research. In response to this gap in the literature, the purpose of the current study was to contribute an initial understanding of humility’s role in musical participation. This research utilized an ethnographic case study (including non-participant observation and interviews as the primary means of data collection) over the course of six months to examine the presence of prosocial and antisocial behaviors among the students and director of a competitive high school jazz band in the Pacific Northwest. First, three broad themes of musical egoism were identified: (a) seeking and desiring superiority, (b) displays of self-importance, self-promotion, and self-orientation, and (c) an inflated self- view. -
Groove: Shared Time and Its Meanings
Feeling the groove: shared time and its meanings for three jazz trios Abstract The notion of groove is fundamental to jazz culture and the term yields a rich set of understandings for jazz musicians. Within the literature, no single perspective on groove exists and many questions remain about the relationship between timing processes, phenomenal experience and musical structures in making sense of groove. In this account, the experience and meaning of groove is theorised as emerging from two forms of sharedness. Firstly, a primary intersubjectivity that arises through the timing behaviours of the players; this could be likened to the ‘mutual tuning-in’ described in social phenomenology. It is proposed that this tuning-in is accomplished through the mechanism of entrainment. The second form of sharedness is understood as the shared temporal models, the cultural knowledge, that musicians make use of in their playing together. Methodologically, this study makes use of detailed investigation of timing data from live performances by three jazz trios, framed by in-depth, semi-structured interview material and steers a new course between existing ethnographic work on jazz and more psychologically informed studies of timing. The findings of the study point towards significant social and structural effects on the groove between players. The impact of musical role on groove and timing is demonstrated and significant temporal models, whose syntactic relations suggest musical proximity or distance, are shown to have a corresponding effect on timing within the trios. The musician’s experience of groove is discussed as it relates to the objective timing data and reveals a complex set of understandings involving temporality, consciousness and communication. -
Extreme Matt-Itude Holidaygift Guide Ikue • Ivo • Joel • Rarenoise • Event Mori Perelman Press Records Calendar December 2013
DECEMBER 2013 - ISSUE 140 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM MATT WILSON EXTREME MATT-ITUDE HOLIDAYGIFT GUIDE IKUE • IVO • JOEL • RARENOISE • EVENT MORI PERELMAN PRESS RECORDS CALENDAR DECEMBER 2013 DAVID SANBORN FOURPLAY CLAUDIO RODITI QUARTET SUNDAY BRUNCH RESIDENCY DEC 3 - 8 DEC 10 - 15 TRIBUTE TO DIZZY GILLESPIE DEC 1, 8, 15, 22, & 29 CHRIS BOTTI ANNUAL HOLIDAY RESIDENCY INCLUDING NEW YEAR’S EVE! DEC 16 - JAN 5 JERMAINE PAUL KENDRA ROSS WINNER OF “THE VOICE” CD RELEASE DEC 2 DEC 9 LATE NIGHT GROOVE SERIES RITMOSIS DEC 6 • CAMILLE GANIER JONES DEC 7 • SIMONA MOLINARI DEC 13 • GIULIA VALLE DEC 14 VICKIE NATALE DEC 20 • RACHEL BROTMAN DEC 21 • BABA ISRAEL & DUV DEC 28 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm HOLIDAY EVENTS / 7:00, 9:00 & 10:30pm Fri & Sat, Dec 6 & 7 Sun, Dec 15 SMOKE JAVON JACKSON BAND GEORGE BURTON’S CHRISTMAS YULELOG Winter / Spring 2014 Javon Jackson (tenor saxophone) • Orrin Evans (piano) Thu, Dec 19 Santi DeBriano (bass) • Jason Tiemann (drums) “A NAT ‘KING’ COLE CHRISTMAS” SESSIONS Fri & Sat, Dec 13 & 14 ALAN HARRIS QUARTET BILL CHARLAP TRIO COMPACT DISC AND DOWNLOAD TITLES Bill Charlap (piano) • Peter Washington (bass) COLTRANE FESTIVAL / 7:00, 9:00 & 10:30pm Kenny Washington (drums) Mon, Dec 23 - Wed, Dec 25 Fri, Sat & Sun, Dec 20, 21 & 22 ERIC ALEXANDER QUARTET RENEE ROSNES QUARTET FEATURING LOUIS HAYES Steve Nelson (vibraphone) • Renee Rosnes (piano) Eric Alexander (tenor saxophone) • Harold Mabern (piano) Peter Washington (bass) • Lewis Nash (drums) John Webber (bass) • Louis Hayes (drums) Thu, Dec 26 - Wed, Jan 1 ERIC ALEXANDER SEXTET ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm FEAT.