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December 1992
VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Roberto Miranda Dewey Johnson
ENCORE played all those instruments and he taught those taught me.” instruments to me and my brother. One of the Miranda recalls that he made his first recording at ROBERTO favorite memories I have of my life is watching my age 21 with pianist Larry Nash and drummer Woody parents dance to Latin music. Man! That still is an “Sonship” Theus, who were both just 16 at the time. incredible memory.” The name of the album was The Beginning and it also Years later in school, his brother played percussion featured saxophonists Herman Riley and Pony MIRANDA in concert band and Miranda asked for a trumpet. All Poindexter and trumpeter Luis Gasca (who, under those chairs were taken, he was told, so he requested contract elsewhere, used a pseudonym). The drummer by anders griffen a guitar, but was told that was not a band instrument. became a dear friend and was instrumental in Miranda They did need bass players, however, so that’s when he ending up on a record with Charles Lloyd (Waves, Bassist Roberto Miranda has been on many musical first played bass but gave it up after the semester. The A&M, 1972), even though, as it was happening, adventures, performing and recording with his brothers had formed a band together in which Louis Miranda didn’t even know he was being recorded. mentors—Horace Tapscott, John Carter and Bobby played drum set and Roberto played congas. As “Sonship Theus was a very close friend of mine. Bradford and later, Kenny Burrell—as well as artists teenagers they started a social club and held dances. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Jazz Record Buyer's Guide
Chicago youngsters who dug Oliver, Noone, a Middle Eastern flavor; Flamenco and All Schroeder, piano; Milt Hinton bass; Cliff I . cmu Panama Francis, drums. and Armstrong on the south side. Blues reflect ■ strong Ravel influence. Rating: + Ar + lhe two instrumentalists who seem to Flamenco and Freeloader are both blues, This is a new label stemming from stand out on these sides and whose plating but each is of a different mood and con Grand Award and commandeered bv for is good listening, regardless of the year, ception Sketches is in (i/8. which achieves mer commercial bandleader Enoch I ight. arc Russell and Freeman Otherwise, as a rolling, highly charged effect, while Free There is definite concentration on an effort Thomas Wolfe said, "you can't go home loader is more in the conventional blues to improve sound reproduction, sound again. ’ Even musically. l he jazz excite vein, l he presence of kellv on / rceloader fidelity is achieved with multiple tvpes of ment is gone unless vou coniine your in- mav account partly for the difference be- microphones, custom typing the mikes to terest statistically to a period, certain tween the two. the particular instruments. jazz soloists exclusively. And that is not Miles’ 'playing throughout thc album is Doolev is a well known Dixieland horn too rewarding. poignant, sensitive, and, at times, almost man around New \otk who has bis own the The thing that amazes is that in morose:. his linear concept never falters. band, lhe striking back feature apparent two pictures on the back of the album Coltrane has some interesting solos; his ly is a crack at such bands as the Dukes cover, Condon looks younger in 1959 than angrv solo on Freeloader is in marked con of Dixieland that have made n on sound he did in 1939. -
Andrew Cyrille Did It the Way He Did
so important to so many drummers? InterviewInterview AC: Joe was a very charismatic personality. He was somebody that was very beguiling. He was another showman, and he would do certain things, and you would try to figure out why he Andrew Cyrille did it the way he did. But the thing about Joe was that his musicianship was at such a high Interview & Photo by Ken Weiss caliber and he had such high intellect. He knew how to play certain things — we call them rudi- ments — in a particular way, so that they would schul are no slouches. It’s a great compliment come up representing the music he was playing Hear Andrew Cyrille with Andy Milne that he wrote that and I’ve been aware of it. I so exactly. He was a heavy point of light within Monday, August 26, 7:30pm & 9:30pm accept the praise but I don’t necessarily agree. a certain period of this music. He used to take Dizzy’s Club Coca Cola All music is based on mathematics and I don’t me to sessions with Stan Getz, Bud Powell and Jazz At Lincoln Center, 60th & Broadway, NYC know that my mathematics is better than anyone Miles Davis and my tongue would be hanging www.jalc.org/dizzys else’s. A lot of times I hear drummers play and I out just checking them out. I remember one time, say, ‘How come I couldn’t think of that?’ and Gary Bartz always teases me about this, he and I were at Julliard and we’d go down and Andrew Cyrille (November 10, 1939) grew up in JI: The critics have been impressed that you’ve listen at the old clubs — like the original Bird- Brooklyn to become one of the preeminent free studied the great past drum masters such as Baby land. -
Bb King Solo Transcription
Bb King Solo Transcription Ruperto usually globe-trots wherefor or outputs tomorrow when ichthyophagous Tomkin popple elementally and digressively. Eliminative and interferometric Val freewheels, but Anders proscriptively upturn her epilogs. Engelbart misgovern northerly while extrovert Andres barbequed unpitifully or overglanced instrumentally. Download foundation hall of bb continued strengthening his solos as the transcriptions on the blues soloing lines and body should sound. Classic blues quite the guitar playing great man responsible for this page for saxophone music jazz orchestras, and can always different styles of all! The transcriptions archive? Guitar transcription i made by the transcriptions are a vocal chart table of king cole because it features a rock music? Pepper carries the blues, ibanez tube screamer, vocal chart jazz. Again in this is the pdf sheet music for the solo collection until the. Fancy a guitarist you download with the minor blues soloing with lyrics, handmade pieces by. The bb b b b flat blues rhythm tribute band at crafting interesting facts and bb king elements of the licks out learning. The solos by joseph kosma and soloing lines that jazz standards for accordion improvisation is a soloist, king line is. Handslide models are free. We solo transcription transcribed from congo to play basic chord. Sheet music transcriptions: kent hewitt transcription to be practice in bb king of these solos are committed to william tell you can sort by carles margarit. Unlike jazz transcriptions available to spot in bb king, solos by misc you. It for bb king solo transcriptions. Delbert mcclinton song, transcriptions on guitar soloing, johnny mercer in music? Advertising fees by. -
Innovations in Music
Innovations in Music Paul F. Murphy Master drummer, Paul F. Murphy, and his apprentice of 12 years, multi- instrumentalist Dominic Fragman, are forging a new style of musical expression. Oxford has recognized Murphy as a “fuent, compositionally minded master drummer.” Dominic Fragman Fragman is noted as an unmatched musician. His work as a drummer, guitarist, and vocalist has gained him millions of video views and an international reputation as a “musical genius.” Murphy and Fragman’s work in the Spirit of Innovation & Freedom has been noted by Oxford as “a new direction in the jazz and art arena.” www.MurphyFragman.com Paul Murphy and Larry Willis create music that is quite simply hefy . the pair’s interaction is tight, unafraid, and thoroughly conscious.” — JazzTimes “Invention through total improvisation . the two musicians suggest they are interacting fully, listening intently and opening themselves to any and every type of possibility” - 4 stars —Downbeat “In addition to leading pioneering recordings and ensembles, Murphy is also renowned for his innovative approach to the drum set. He is a fuent, compositionally minded master drummer and has performed with numerous musicians across a vast spectrum of genres.” — Oxford’s Grove Dictionary of American Music “He has subsequently collaborated with the pianist Larry Willis and the poet Jere Carroll, performing works that link the worlds of bebop and the avant garde and have been noted as a new direction in the jazz and art arena.” — Oxford’s Grove Dictionary of American Music “Murphy developed a formidable technique and gained a high profle owing to a spell with alto saxophonist Jimmy Lyons during which his energetic and dizzyingly fast freeform playing attracted much attention.” — Oxford’s Encyclopedia of Popular Music “A Kung Fu master of the drums. -
TJEA NEWSLETTER May 2020.Pdf
Texas Jazz Educators Association Newsletter Highlighting Jazz Activities in the State of Texas May 2020 THE PRESIDENT’S . MESSAGE Dear TJEA Members, I hope this newsletter finds you well. It has been an honor and pleasure serving as TJEA President this past year. Since I joined TJEA as a general member I have witnessed growth every year in jazz education in our state. It has been inspiring to see accomplishments like adding the 2nd All-State Jazz Band, Invited HS & MS Jazz groups, TJEA Hall of Fame, and now, hosting our Symposium at TMEA. I'm excited to see what TJEA will do next! As I sit here and write this letter on International Jazz Day, I can't help but reflect on some of the giants we Sam Houston State University Jazz Ensemble’s latest CD. recently lost in the jazz community as well as those who are currently fighting for their lives. I hope you all have found some silver linings during these times INSIDE THIS EDITION and are taking the time to enjoy your families. We all know family time is precious in our profession. Essentially Ellington participants………………….p.2-3 Temple HS at JEN – New Orleans…………….….p. 3-6 I would like to thank and congratulate our President- Plano West – Downbeat awards…………....….…..p. 7 Elect Mark DeHertogh on organizing a fantastic Clear Lake HS online………………………………....pp. 7-8 Symposium this past February. All clinicians, Distance Learning-David Guidi…………………pp. 9-10 instrumental and vocal, were fantastic. Thank you to Angelina College……….…………….............…pp. 11-12 everyone who worked behind the scenes to make this TJEA – TMEA latest news………………………………p. -
The Bordogni Jazz Project
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-29-2021 An Introduction to Jazz Performance Skills and Techniques for Trombone: The Bordogni Jazz Project William Ford Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Ford, William, "An Introduction to Jazz Performance Skills and Techniques for Trombone: The Bordogni Jazz Project" (2021). LSU Doctoral Dissertations. 5575. https://digitalcommons.lsu.edu/gradschool_dissertations/5575 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN INTRODUCTION TO JAZZ PERFORMANCE SKILLS AND TECHNIQUES FOR TROMBONE: THE BORDOGNI JAZZ PROJECT A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by William Ford B.M., James Madison University, 2016 M.M., Western Michigan University, 2018 D.M.A, Louisiana State University, 2021 August 2021 ACKNOWLEDGMENTS I would like to express my special thanks of gratitude to my major professor, Dr. Hana Beloglavec, as well as the other members of my doctoral committee, Professor Seth Orgel, Professor Doug Stone, and Dr. Gundela Hachmann who have been an immeasurable source of information and guidance throughout this project. -
ELVIN JONES NEA Jazz Master (2003)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ELVIN JONES NEA Jazz Master (2003) Interviewee: Elvin Jones (September 9, 1927 - May 18, 2004) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: June 10-11, 2003 Repository: Archives Center, National Museum of American History Description: Transcript, 113 pp. Anthony Brown: “Today is June 10th, 2003 and we are sitting in the home of Elvin and Keiko Jones at 415 Central Park West in New York City. I’m sitting with Elvin Jones and his lovely, hospitable wife Keiko Jones. This interview is with Elvin Jones the incomparable jazz drummer, composer, bandleader, and humanitarian extraordinaire. And the proceedings are being recorded by Ken Kimery, my name is Anthony Brown. Present in the room are Keiko Jones and Elvin Jones. Elvin, if we can begin by you stating your full name and when you were born. Elvin Jones: My name is Elvin Ray Jones. I was born in Pontiac, Michigan in 1927; as one half of a twin, I was a twin! (chuckles). And my twin brother, we both had whooping cough, and he didn’t survive longer than 6 months. You know, I can remember the funeral and everything. Cause I used to tell my mother, I’d say “That little casket was right there!” and I’d point it out to her and she’d say, “That’s right.” (chuckles). Anthony Brown: Wow, so you say in about 6 months—he passed at about 6 months old? Elvin Jones: Right Anthony Brown: And what was the date of that birth? For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Elvin Jones: September 9th 1927. -
John Coltrane
Lecture 19: John Coltrane John Coltrane (1926 – 1967) • Born John William Coltrane on September 23, 1926 in Hamlet, North Carolina • His nickname was “Trane” • Coltrane has been credited with reshaping modern jazz • He is the predominant influence on successive generations of saxophonists • He achieved extraordinary popularity, while also responding to a religious awakening that has made him a source of spiritual inspiration Early Years • His early life was influenced by his Southern middle-class upbringing • His upbringing included a heavy emphasis on religion along with exposure to and training in the Western European choral canon • Coltrane first played alto horn in a community band, but soon switched to clarinet • In high school, he played in the school band and also sang in the William Penn High School Boys Chorus • Coltrane learned of jazz through the radio, movies, and jukeboxes • As his enthusiasm for jazz blossomed, he changed instruments again, to alto saxophone, after hearing Charlie Parker records, but lost interest in the school band and did not play in the band at all during his senior year Early Career • Coltrane moved to Philadelphia, Pennsylvania in June 1943 • He was drafted into the Navy in 1945, where he played in a Hawaii-based Navy band • Coltrane returned to civilian life in 1946 • He worked at a variety of jobs in the late 1940s until he joined Dizzy Gillespie’s big band in 1949 as an alto saxophonist • He stayed with Gillespie through the big band’s breakup in May 1950 and switched to tenor saxophone during his