Jazz in a Post-Ken Burns World: 1960'S-Today

Total Page：16

File Type：pdf, Size：1020Kb

University of California, San Diego Extension Jazz in a Post-Ken Burns World: 1960s-Today with San Diego Union-Tribune music critic George Varga If you believe the PBS-TV series Ken Burns Jazz, Americas greatest music stopped evolving sometime in the 1960s. Not so. This five-evening course will trace jazzs evolution since then, beginning with the controversial fusion movement spearheaded by Miles Davis and Weather Report, and including the sad transformation of fusion into the neo-elevator fuzak style. Well also focus on important artists and movements, from the envelope-pushing Ornette Coleman to recent acid-jazz upstarts like Charlie Hunter. And well investigate how this all-inclusive, multicultural music has impacted world culture. Stops along the way will include the genre- leaping Art Ensemble of Chicago and other mainstays of the Association for the Advancement of Creative Musicians; the neo-chamber jazz popularized by Keith Jarrett and Jan Garbarek; the freewheeling M-BASE revolution, which launched such mavericks as Cassandra Wilson and Steve Coleman; the Wynton Marsalis-led neo-traditional jazz movement; and such varied artists as the World Saxophone Quartet, Joshua Redman, Regina Carter, Henry Threadgill, Don Byron, Panamas Danilo Perez, Brazils Hermeto Pascoal and Germanys Albert Mangelsdorff. George Varga is the award-winning music critic for the San Diego Union-Tribune and Copley News Service, and a contributing writer to Jazz Times. He has interviewed everyone from Miles Davis, Dizzy Gillespie and Cassandra Wilson to Cecil Taylor, Wynton Marsalis and Diana Krall, and written liner notes for numerous albums, including saxophonist Michael Breckers 1988 Grammy Award-winning Dont Try This At Home. A former professional drummer, Varga has also been a featured panelist at the International Association of Jazz Educators annual conferences since 1990. Wednesdays, 6:30-8:30pm, January 16-February 13 (5 nights) at Spruce Street Forum, 301 Spruce Street, Bankers Hill Fee: $95 (full course only, no single-evening registrations) Section: 033200-5003 Course No.: MUS-40026 To register, call UCSD Extension at 858-534-3400, 451-7474, or 882-8000 or register on-line at www.extension.ucsd.edu For information, call 858-534-8042, email [email protected] or visit www.extension.ucsd.edu/ahl.

Copy Link

Recommended publications

CURRICULUM VITAE Walter C. White
CURRICULUM VITAE Walter C. White Home Address: 23271 Rosewood Oak Park, MI 48237 (917) 273-7498 e-mail: [email protected] Website: www.walterwhite.com EDUCATION Banff Centre of Fine Arts Summer Jazz Institute – Advanced study of jazz performance, improvisation, composition, and 1985-1988 arranging. Performances with Dave Holland. Cecil Taylor, Muhal Richard Abrahms, David Liebman, (July/August) Richie Beirach, Kenny Wheeler, Pat LaBarbara, Julian Priester, Steve Coleman, Marvin Smith. The University of Miami 1983-1986 Studio Music and Jazz, Concert Jazz Band, Monk/Mingus Ensemble, Bebop Ensemble, ECM Ensemble, Trumpet. The Juilliard School 1981-1983 Classical Trumpet, Orchestral Performance, Juilliard Orchestra. Interlochen Arts Academy (High School Grades 10-12) 1978-1981 Trumpet, Band, Orchestra, Studio Orchestra, Brass Ensemble, Choir. Interlochen Arts Camp (formerly National Music Camp) 8-weeks Summers, Junior Orchestra (principal trumpet), Intermediate Band (1st Chair), Intermediate Orchestra (principal), 1975- 1979, H.S. Jazz Band (lead trumpet), World Youth Symphony Orchestra (section 78-79, principal ’81) 1981 Henry Ford Community College Summer Jazz Institute Summer Classes in improvisation, arranging, small group, and big band performance. 1980 Ferndale, Michigan, Public Schools (Grades K-9) 1968-1977 TEACHING ACCOMPLISHMENTS Rutgers University, Artist-in-residence Duties included coaching jazz combos, trumpet master 2009-2010 classes, arranging classes, big band rehearsals and sectionals, private lessons, and five performances with the Jazz Ensemble, including performances with Conrad Herwig, Wynton Marsalis, Jon Faddis, Terrell Stafford, Sean Jones, Tom ‘Bones’ Malone, Mike Williams, and Paquito D’Rivera Newark, NY, High School Jazz Program Three day residency with duties including general music clinics and demonstrations for primary and secondary students, coaching of Wind Ensemble, Choir, Jan 2011 Jazz Vocal Ensemble, and two performances with the High School Jazz Ensemble.
[Show full text]
JUBILEE EDITION to His Artistic Choice
WINTE R&WINTER JthUe fBirsIt L30EyE earsE1D98I5 T–I2O01N 5 SOUND JOURNEYS 30 Years of Music Recordings by Stefan Winter It is a kind of stage anniversary behind the scenes: 30 years ago Stefan Winter founds the JMT (Jazz Music Today) label and records the debut production of the young saxo - STEFAN WINTER AND MARIKO TAKAHASHI phonist Steve Coleman . The starting point is the new Afro-American conception M-Base . The protagonists of this movement are Cassandra Wilson (vocals), Geri Allen (piano), Robin Eubanks (trombone), Greg Osby and Gary Thomas (sax ophones). In antithesis to this artistic movement Winter do cu ments the development of the young jazz avant- garde and produces path-breaking recordings with Tim Berne (saxophone), Hank Roberts (cello), Django Bates (piano), Joey Baron (drums), Marc Ducret (guitar) and the ensemble Miniature . After 1995 his working method changes fundamentally from a documentarist to a sound director. This is the actual beginning of WINTER&WINTER. Together with Mariko Takahashi he dares to implement a new label concept. At the end of the 80s, Stefan Winter and Mariko Takahashi meet in Japan. Under the direction of Mariko Takahashi the festival »Taboo-Lu« is initiated in Ginza in Tokyo (Japan), a notable presentation with live concerts, an art exhibition and recordings. With »Taboo-Lu« the idea of and for WINTER&WINTER is quasi anticipated: Border crossing becomes a programme. Art and music cooperate together, contemporary meets tradition, composition improvisation. Mariko Takahashi and Stefan Winter want to open the way with unconventional recordings and works for fantastic and new experiences. Stefan Winter has the vision to produce classical masterpieces in radical new interpretations.
[Show full text]
Cassandra Wilson Sign of the Judgment Ð¢Ðµðºñ Ñ
Cassandra Wilson Sign Of The Judgment Ð¢ÐµÐºÑ•Ñ‚ Francis planed her closure straightforwardly, she tabularizes it infirmly. Panniered and unrepelled Sayres never fluidized his sadhu! Obadiah usually stash purgatively or misbehaving dispersedly when winglike Dwain suborns nominally and rousingly. The law and despair and ymbols in Now you can sing like Chris Stapleton, the words, NY: Cornell University Press. The folios have been clipped. Christianity in other ways. You are commenting using your Facebook account. How could she come up with that? Album: A Whaling City Sampler. Ovid in fact appears to oppose touch and sight at one point, to yearn or long for. Boethiuss version of the myth. CCCwas once read as separate quires. Colophons in Early English Manuscripts. Chaucer and the Making of Optical Space. Southern Gothic part of the lyric. Franciscan friarsuch as John of Grimestone, and Mitchell did like him. In Chaucer, Leonard Cohen and John Lennon. Hurry, or bring disaster down upon the lyricist. RThe Western Manuscripts in the Library of Trinity College, therealsoarises a problemthe problem alluded to in my ccount of the Book of the Duchessow can humans begin to experience cosmic music, but in different size shoe. The whole album is splendid. Why do you have to play the root of the chord? Love, the one who desires me with greater constancy may come to my arms, and this is why human souls cannot avoid hearing and being affected by worldly contemporary music. The dreamer first hears the birds when he wakes from sleep within his dream: they are gathered onthe roof and sing in chorus.
[Show full text]
Glenn Siegel, Ken Irwin, (413) 545-2876
Contact: Glenn Siegel, Ken Irwin, (413) 545-2876 www.fineartscenter.com/magictriangle THE 2010 MAGIC TRIANGLE JAZZ SERIES PRESENTS: STEVE COLEMAN & FIVE ELEMENTS The Magic Triangle Jazz Series, produced by WMUA-91.1FM and the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 22nd season on Thursday, April 26, at Bezanson Recital Hall, at 8:00pm with a performance by Steve Coleman & Five Elements. The group features Coleman on alto saxophone with Jonathan Finlayson (trumpet), Tim Albright (trombone), Jen Shyu (vocals), Thomas Morgan (bass) and Tyshawn Sorey (drums). A mentor and something of a pied piper, Coleman is a hugely influential figure who has aided the careers of peers like Geri Allen, Greg Osby and Cassandra Wilson, as well as nurturing the development of such important younger musicians as Vijay Iyer, Steve Lehman and Rudresh Mahanthappa. Over the past two decades, he's turned his band Five Elements into an improviser's academy, attracting a steady flow of exceptional young musicians. “To me, Steve Coleman is as important as John Coltrane,” says pianist Vijay Iyer, “he has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists.” Born in Chicago in 1956, Coleman moved to New York City in 1978 and has been identified with the City ever since. Initially influenced by saxophonists Charlie Parker, Sonny Rollins, John Coltrane, Von Freeman and Bunky Green, Coleman has performed and recorded with Thad Jones, Sam Rivers, drummer Doug Hammond, Cecil Taylor, Abbey Lincoln and Dave Holland. One of the founders of the so-called M-Base movement, Coleman has led several groups and has 25 recordings under his name.
[Show full text]
Moravian College Jazz Artists and Epochs - Syllabus MUS 115 Tony Gairo, Instructor 215-803-3951 [email protected]
Moravian College Jazz Artists and Epochs - Syllabus MUS 115 Tony Gairo, instructor 215-803-3951 [email protected] Objectives Students will demonstrate an understanding of the role of jazz in American culture and as a truly American art form. Students will be able to recognize different eras and styles of jazz. Students will have knowledge of the prominent jazz musicians of each era and each player's contribution to the history of jazz. Requirements Regular, punctual attendance: students are required to attend every scheduled meeting with only those absences that are excused by instructor. Instructor is to be notified of ensuing absence. In addition, students are expected to be in class and prepared by 10:20 AM, no later. Any arrival past 10:25 will result in an official tardiness and will be appropriately penalized. Attentiveness and participation in class. Preparation for each session / completion of assignments Attendance at, at least, three (3) live jazz performances with a one-page typed report of each documenting attendance. A three-to-five-page research paper (topics to be discussed). Occasional pop-quizzes. Grading Attendance, 30% Participation, 10% Quizzes, 10% Mid-term exam, 10% Final exam, 15% Research paper, 15% Concert attendance, 10% Text Required: Jazz: The First 100 Years (Third Edition), Henry Martin & Keith Waters 2 Schedule 13 Jan: introduction. What is jazz? What is its role in American society? 15 Jan: Pre-jazz - the roots of jazz; slavery and its abolition; Jim Crow laws, Cakewalks, Minstrel Shows, African/European influences. Read Chapter 1. 17 Jan: Pre-jazz (cont.) - the Blues (Country Blues - Huddie Ledbetter, Robert Johnson - vs.
[Show full text]
Press Kit 2017
BIOGRAPHY BIOGRAPHY One of his generation’s extraordinary talents, Scott Tixier has made a name for himself as a violinist-composer of wide- ranging ambition, individuality and drive — “the future of jazz violin” in the words of Downbeat Magazine and “A remarkable improviser and a cunning jazz composer” in those of NPR. The New York City-based Tixier, born in 1986 in Montreuil, France has performed with some of the leading lights in jazz and music legends from Stevie Wonder to NEA jazz master Kenny Barron; as a leader as well. Tixier’s acclaimed Sunnyside album “Cosmic Adventure” saw the violinist performing with a all star band “taking the jazz world by storm” as the All About Jazz Journal put it. The Village Voice called the album “Poignant and Reflective” while The New York Times declared “Mr. Tixier is a violinist whose sonic palette, like his range of interests, runs open and wide; on his new album, “Cosmic Adventure,” he traces a line through chamber music, Afro-Cuban groove and modern jazz.” When JazzTimes said"Tixier has a remarkably vocal tone, and he employs it with considerable suspense. Cosmic Adventure is a fresh, thoroughly enjoyable recording!" Tixier studied classical violin at the conservatory in Paris. Following that, he studied improvisation as a self-educated jazz musician. He has been living in New York for over a decade where he performed and recorded with a wide range of artists, including, Stevie Wonder, Kenny Barron, John Legend, Ed Sheeran, Charnett Moffett, Cassandra Wilson, Chris Potter, Christina Aguilera, Common, Anthony Braxton, Joss Stone, Gladys Knight, Natalie Cole, Ariana Grande, Wayne Brady, Gerald Cleaver,Tigran Hamasyan and many more He played in all the major venues across the United States at Carnegie Hall, the Radio City Music Hall, Madison Square Garden, Barclays Center, Jazz at Lincoln Center, the Blue Note Jazz Club, the Apollo Theater, the Smalls Jazz Club, The Stone, Roulette, Joe's Pub, Prudential Center and the United States Capitol.
[Show full text]
Semester at Sea Course Syllabus
SEMESTER AT SEA COURSE SYLLABUS Colorado State University, Academic Partner Voyage: Spring 2019 Discipline: Music Course Number and Title: MU 332 History of Jazz Division: Upper Faculty Name: David Borgo, Ph.D. Semester Credit Hours: 3 Prerequisites: None COURSE DESCRIPTION The official catalog description of this course is: Jazz since the 1880s emphasizing its various influences and developments. Jazz is one of the primary foundations for American and Global music in the twentieth and twenty-first centuries. This course highlights the multi-cultural and international scope of jazz by exploring the music and lives of a diverse array of jazz practitioners from around the United States and around the world. The course begins with an investigation into African and African American musical precursors, including spirituals, work and play songs, minstrel traditions, ragtime and the blues. It continues by exploring the emergence of jazz in New Orleans, Chicago, Kansas City, New York City and Los Angeles, as well as the exportation of jazz to locales around the world. Close attention will be paid to jazz artists and practices in the various ports of call we will visit on our voyage, including in-depth coverage of jazz in Japan and China, Indo-Jazz fusions, and the important role that South African jazz music and musicians played in the struggle against apartheid. The course is designed to increase our abilities to hear differences among performances and styles of jazz and to interpret the meanings of such differences. Jazz music has played a provocative role in American and global society, and its reception has always been inflected by issues of race, ethnicity, class, nationality, gender, sexuality, and ability/disability.
[Show full text]
Jason Moran STAGED Luhring Augustine Is Pleased to Announce
Jason Moran STAGED April 29 – July 30, 2016 Opening reception: Thursday, April 28, 6-8pm Luhring Augustine is pleased to announce the opening of STAGED, the first solo exhibition by the musician/composer/artist Jason Moran, in our Bushwick gallery. Moran's rich and varied work in both music and visual art mines entanglements in American cultural production. He is deeply invested in complicating the relationship between music and language, exploring ideas of intelligibility and communication. In his first gallery exhibition, Moran will continue to investigate the overlaps and intersections of jazz, art, and social history, provoking the viewer to reconsider notions of value, authenticity, and time. STAGED will include a range of objects and works on paper, including two large-scale sculptures with audio elements from Moran’s STAGED series that were recently exhibited in the 56th Biennale di Venezia. Based on two historic New York City jazz venues that no longer exist (the Savoy Ballroom and the Three Deuces), the sculptures are hybrids of reconstructions and imaginings. Works on paper and smaller objects will be in dialogue with the stage sculptures on many levels: citing performance and process, employing sound, and exploiting the visual history of jazz in America. Moran was born in Houston, TX in 1975. He was made a MacArthur Fellow in 2010 and is currently the Artistic Director for Jazz at The Kennedy Center in Washington DC; he also teaches at the New England Conservatory in Boston, MA. Moran’s activities comprise both his work with masters of jazz such as Charles Lloyd, the late Sam Rivers, Henry Threadgill, Cassandra Wilson, and his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) as well as a number of partnerships with visual artists, including Stan Douglas, Theaster Gates, Joan Jonas, Glenn Ligon, Adam Pendleton, Adrian Piper, Lorna Simpson, and Kara Walker.
[Show full text]
MISSISSIPPI LEGISLATURE REGULAR SESSION 2010 By
MISSISSIPPI LEGISLATURE REGULAR SESSION 2010 By: Senator(s) Horhn, Baria, Browning, To: Rules Butler, Chassaniol, Dawkins, Fillingane, Frazier, Jackson (11th), Jackson (15th), Jackson (32nd), Jones, Kirby, Montgomery, Powell, Stone SENATE CONCURRENT RESOLUTION NO. 530 1 A CONCURRENT RESOLUTION RECOGNIZING AND SALUTING JACKSON JAZZ 2 ARTIST CASSANDRA WILSON UPON THE OCCASION OF THE MISSISSIPPI BLUES 3 TRAIL MARKER IN HER HONOR WHICH IS MISSISSIPPI'S 100TH MARKER. 4 WHEREAS, on January 7, 2010, the 100th Mississippi Blues 5 Trail Marker will be dedicated to honor national jazz artist 6 Cassandra Wilson at the Sam M. Brinkley Middle School located at 7 Ridgeway Street and Albemarle Road in Jackson, Mississippi; and 8 WHEREAS, "There's no question that the 100th marker on the 9 Mississippi Blues Trail is a fitting tribute to one of the 10 greatest voices in American arts," Governor Haley Barbour said. 11 "Cassandra Wilson's collection of blues, jazz standards and 12 musical style sets her apart from other artists. She is truly one 13 of Mississippi's musical treasures"; and 14 WHEREAS, Mississippi, the Birthplace of America's Music, is a 15 destination for music lovers. The Mississippi Blues Trail program 16 was created to recognize the talents of the state's countless 17 musicians. When completed, the trail will include more than 100 18 sites that together will offer an unforgettable journey into Blues 19 history; and 20 WHEREAS, the Mississippi Blues Trail markers are funded in 21 part by a grant from the National Endowment for the Humanities and 22 by support from the Jackson Convention and Visitors Bureau, the 23 Mississippi Department of Transportation, Delta State University 24 and the Mississippi Development Authority; and 25 WHEREAS, although often categorized as a jazz artist, 26 Wilson's music spans many genres, including the blues.
[Show full text]
An Evening with Savion Glover & Jack Dejohnette
Co-present AN EVENING WITH SAVION GLOVER & JACK DEJOHNETTE Savion Glover Tap Dancer Jack DeJohnette Drums Featuring George Colligan Piano Jerome Harris Bass Marshall Davis, Jr. Tap Dancer Monday, June 20 & Tuesday, June 21 at 8:00pm Page Auditorium Performance: 90 minutes, including intermission and pause Savion Glover with Marshall Davis, Jr. INTERMISSION Jack DeJohnette and his Trio PAUSE Savion Glover with Jack DeJohnette and full company SAVION GLOVER Savion Glover is a Tony Award-winning choreographer and legendary hoofer whose career has spanned four decades. He began his Broadway stage career as The Tap Dance Kid, and continued with Black and Blue, Jelly's Last Jam, and his unprecedented award-winning Bring in da Noise Bring in da Funk, which garnered him a Tony Award for Best Choreography. He choreographed the multiple Tony Award nominee and Broadway sensation Shuffle Along with his longtime collaborator George C. Wolfe. In addition to his extensive Broadway career as a performer and choreographer, Savion has created many tap shows that tour worldwide including Bare Soundz, Classical Savion, OM, StepZ, Solo in Time, Sole Sanctuary, Improvography, Footnotes, and Savion Glover's Holiday Spectacular. In addition to creating his ongoing body of work, Savion has enjoyed performing worldwide with jazz legends including McCoy Tyner, Roy Haynes, and Jack DeJohnette. Mr. Glover's film credits include Tap, starring Gregory Hines and Sammy Davis, Jr.; Spike Lee's Bamboozled, and George Miller's Happy Feet and Happy Feet Two. He has appeared on television in commercials for Nike and is a longstanding performer on Sesame Street. As a child, Glover was privileged to dance with and be guided by the great Bunny Briggs, Buster Brown, Lon Chaney, Gregory Hines, Sammy Davis, Jr., Jimmy Slyde and Diane Walker.
[Show full text]
17312 Hon. John Conyers, Jr. Hon. James T. Walsh Hon
17312 EXTENSIONS OF REMARKS, Vol. 152, Pt. 13 September 6, 2006 A SALUTE TO REGINA CARTER album’’ she says ‘‘I chose ‘How Ruth Felt,’ HONORING DR. CLINTON BRISTOW, which is a commissioned piece that I wrote for JR. HON. JOHN CONYERS, JR. a woman named Ruth Felt, President of San OF MICHIGAN Francisco Performances, and Arts organiza- HON. BENNIE G. THOMPSON IN THE HOUSE OF REPRESENTATIVES tion in San Francisco. I spent some time as an OF MISSISSIPPI Artist-in-Residence there, teaching music to Wednesday, September 6, 2006 IN THE HOUSE OF REPRESENTATIVES disadvantaged children and spreading the joy Wednesday, September 6, 2006 Mr. CONYERS. Mr. Speaker, as Dean of of music to people in community centers and the Congressional Black Caucus, and Chair- churches around the Bay area. Ruth helped Mr. THOMPSON of Mississippi. Mr. Speak- man of the Jazz Forum and Concert that oc- me tremendously while I was dealing with my er, I would like to recognize the life of Dr. Clin- curs during the Congressional Black Caucus mother’s illness. I included ‘How Ruth Felt’ on ton Bristow, Jr., president of Alcorn State Uni- Foundation’s Annual Legislative Conference, I my album as a way to say, ’Thank you.’ ’’ versity. rise to salute the achievements of violinist Re- Now Regina Carter is looking forward to a Dr. Bristow, 57, became president of Alcorn gina Carter, a rising star in the field of jazz. brighter 2006, filled with sharing the memory State University, one of three Historically The following biography is found on her own of her mother and the music of I’ll Be Seeing Black public Universities in Mississippi, on Au- web site.
[Show full text]
The Vijay Iyer Trio
THE VIJAY IYER TRIO Vijay Iyer – piano Stephan Crump – double bass Marcus Gilmore – drums By overwhelming consensus, the V IJAY IYER TRIO (Vijay Iyer, piano; Stephan Crump, double bass; Marcus Gilmore, drums) has become one of the pivotal jazz bands of the twenty-first century. Described as “the best piano trio in jazz today” (D er Spiegel), “the great new jazz piano trio” (The New York Times), “truly astonishing” (NPR), and “the best band in jazz” (PopMatters), the trio makes “cutting-edge music, but always accessible” (The Guardian) – emotionally resonant and deeply interactive, radiating groove and brimming with polyrhythmic detail, rooted in tradition yet truly innovative in style and form. Break Stuff (2015), “the third and best record by Mr. Iyer’s trio” (N ew York Times) and Iyer’s twentieth release as a leader, was produced by Manfred Eicher for ECM. It received a coveted five stars in D ownBeat m agazine, and the German newspaper D ie Zeit raved, “This record is very, very, very good… as astonishing as it is intoxicating.” Crucially, as D ownBeat notes, “the Vijay Iyer Trio is, at its core, a w orking band,” distinguished most of all by a profound, seemingly effortless unity, developed over hundreds of performances in nearly a dozen years. As Howard Reich wrote in The Chicago Tribune, "The three players practically have become a single rhythmic organism... one of the great rhythm units of the day." The trio earned the admiration of audiences, musicians, and journalists worldwide with its two previous albums, H istoricity (ACT, 2009) and Accelerando (ACT, 2012), which were both named #1 jazz album of their respective years in both the DownBeat and JazzTimes international critics’ polls, surveying hundreds of critics.
[Show full text]