Jazz Faculty and Friends: an Evening of Great Music
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Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
September 1995
Features CARL ALLEN Supreme sideman? Prolific producer? Marketing maven? Whether backing greats like Freddie Hubbard and Jackie McLean with unstoppable imagination, or writing, performing, and producing his own eclectic music, or tackling the business side of music, Carl Allen refuses to be tied down. • Ken Micallef JON "FISH" FISHMAN Getting a handle on the slippery style of Phish may be an exercise in futility, but that hasn't kept millions of fans across the country from being hooked. Drummer Jon Fishman navigates the band's unpre- dictable musical waters by blending ancient drum- ming wisdom with unique and personal exercises. • William F. Miller ALVINO BENNETT Have groove, will travel...a lot. LTD, Kenny Loggins, Stevie Wonder, Chaka Khan, Sheena Easton, Bryan Ferry—these are but a few of the artists who have gladly exploited Alvino Bennett's rock-solid feel. • Robyn Flans LOSING YOUR GIG AND BOUNCING BACK We drummers generally avoid the topic of being fired, but maybe hiding from the ax conceals its potentially positive aspects. Discover how the former drummers of Pearl Jam, Slayer, Counting Crows, and others transcended the pain and found freedom in a pink slip. • Matt Peiken Volume 19, Number 8 Cover photo by Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 100 ROCK 'N' 10 UPDATE 24 NEW AND JAZZ CLINIC Terry Bozzio, the Captain NOTABLE Rhythmic Transposition & Tenille's Kevin Winard, BY PAUL DELONG Bob Gatzen, Krupa tribute 30 PRODUCT drummer Jack Platt, CLOSE-UP plus News 102 LATIN Starclassic Drumkit SYMPOSIUM 144 INDUSTRY BY RICK -
Japan Loves New Orleans's Music
University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2017 Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 William Archambeault University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Oral History Commons, and the United States History Commons Recommended Citation Archambeault, William, "Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017" (2017). Senior Honors Theses. 94. https://scholarworks.uno.edu/honors_theses/94 This Honors Thesis-Unrestricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Honors Thesis-Unrestricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 An Honors Thesis Presented to the Department of Interdisciplinary Studies of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Interdisciplinary Studies, with University High Honors and Honors in Interdisciplinary Studies by William Archambeault May 2017 Archambeault i Acknowledgments This undergraduate Honors thesis is dedicated to Travis “Trumpet Black” Hill, a New Orleans trumpeter who died in Tokyo, Japan, on May 4, 2015, while touring Japan. -
Disco Reed Détaillée
20-21 décembre 2000, New York graphie disco HAPPINESS Plenty Swing, Plenty Soul Eric Reed (p) Marcus Printup (tp) Wycliffe Gordon (tb) Eric REDD Guy Reynard et Yves Sportis Wes Anderson (as) Walter Blanding (cl) OUS FAISONS ici état des enregistrements d’Eric Reed en leader et coleader. L’index en Rodney Green (dm) sideman permet de rendre compte de la grande curiosité d’Eric Reed. Il est un 1. Overture Renato Thomas (perc) Nsolide leader mais également un grand accompagnateur prisé par ses pairs. Eric 2. Maria Reed possède un univers très large dans le jazz, dans son sens culturel, la musique 3.Hello, Young Lovers d’inspiration religieuse et le blues étant également omniprésent dans son expression. 4. Pure Imagination Rappelons qu’une discographie présente l’état des publications sur disque. Chaque 5. 42nd Street session est classée chronologiquement, présente la date et le lieu d’enregistrement, le(s) 6.Send in the Clowns titre(s) des albums où elle se trouve gravée, énumère les musiciens, les titres des morceaux, 7. My Man's Gone Now/Gone, enfin la référence des albums en LP ou CD. Nous avons retenu en priorité les éditions Gone, Gone cohérentes. Les livrets/couvertures en illustration constituent de bons repères. Rappelons que 8. Nice Work If You Can Get It 9. You'll Never Walk Alone l’index n’est pas une totalisation de toutes les éditions, mais le fil continu, en CD ou à défaut 10. I Got Rhythm en LP. 1. Happiness 11. Finale (Last Trip) 2. Three Dances: Island Grind- Pour cette discographie (méthode Jazz Hot), nous avons consulté d’excellentes sources ❚■● Impulse! 12592 discographiques, comme la Jazz Discography de Walter Bruyninckx, sur internet Latin Bump-Boogie www.jazzdisco.org/eric-reed/discography et bien sûr les disques eux-mêmes. -
Jason Marsalis ANDJASON the 21ST CENTURYMARSALIS TRAD BAND Melody Reimagined : Book 1
Back Row: (L-R) Austin Johnson, Dave Potter, Will Goble. Front: Jason Marsalis ANDJASON THE 21ST CENTURYMARSALIS TRAD BAND Melody Reimagined : book 1 1. Ratio Man Strikes Again 6:02 JASON MARSALIS vibes 2. Off the Rails 5:08 3. Just as Cool as the Other Side of the Pillow 9:38 AUSTIN JOHNSON piano 4. Soot Sprites 4:42 WILL GOBLE bass 5. A Peaceful Silence 5:52 DAVE POTTER drums 6. Bourbon Street Ain’t Mardi Gras 6:29 7. Passionate Dancer 6:09 ELLIS MARSALIS piano* 8. Never Forget the 23rd Letter 7:11 * * DELFEAYO MARSALIS trombone 9. 80 7:34 All compositions written by Jason Marsalis @BasinStRecords #BSR20 JASON MARSALIS On various shows I’ve done as a leader, original compositions would be mixed with standards for the setlist. Spontaneous arrangements would evolve to spice up the standards. As these standards would evolve into originals, a concept for an album was born: original compositions based on the harmonic structure, or chord changes, from other songs. In previous years, harmonic structures from the standard American songbook would be used to create new melodies. For example, Duke Ellington’s “In a Mellow Tone” is based on the harmony from “Rose Room,” while Charlie Parker’s “Ornithology” is based on the harmony from “How High the Moon.” For this album, harmonies from not only the American songbook are utilized, but jazz standards, traditional jazz, and even 1980’s pop music contains chord changes to inspire these new pieces. We hope that this will be a fresh and familiar experience for the listener. -
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record -
Download the Blood on the Fields Playbill And
Thursday–Saturday Evening, February 21 –23, 2013, at 8:00 Wynton Marsalis, Managing & Artistic Director Greg Scholl, Executive Director Bloomberg is the Lead Corporate Sponsor of this performance. BLOOD ON THE FIELDS JAZZ AT LINCOLN CENTER ORCHESTRA WYNTON MARSALIS, Music Director, Trumpet RYAN KISOR, Trumpet KENNY RAMPTON, Trumpet MARCUS PRINTUP, Trumpet VINCENT GARDNER, Trombone, Tuba CHRIS CRENSHAW, Trombone ELLIOT MASON, Trombone SHERMAN IRBY, Alto & Soprano Saxophones TED NASH, Alto & Soprano Saxophones VICTOR GOINES, Tenor & Soprano Saxophones, Clarinet, Bass Clarinet WALTER BLANDING, Tenor & Soprano Saxophones CARL MARAGHI, Baritone Saxophone, Clarinet, Bass Clarinet ELI BISHOP, Guest Soloist, Violin ERIC REED, Piano CARLOS HENRIQUEZ, Bass ALI JACKSON, Drums Featuring GREGORY PORTER, Vocals KENNY WASHINGTON, Vocals PAULA WEST, Vocals There will be a 15-minute intermission for this performance. Please turn off your cell phones and other electronic devices. Jazz at Lincoln Center thanks its season sponsors: Bloomberg, Brooks Brothers, The Coca-Cola Company, Con Edison, Entergy, HSBC Bank, Qatar Airways, The Shops at Columbus Circle at Time Warner Center, and SiriusXM. MasterCard® is the Preferred Card of Jazz at Lincoln Center. Qatar Airways is a Premier Sponsor and Official Airline Partner of Jazz at Lincoln Center. This concert is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. ROSE THEATER JAZZ AT LINCOLN CENTER’S FREDERICK P. ROSE HALL jalc.org PROGRAM JAZZ AT LINCOLN CENTER 25TH ANNIVERSARY SEASON HONORS Since Jazz at Lincoln Center’s inception on August 3, 1987, when Lincoln Center for the Performing Arts initiated a three-performance summertime series called “Classical Jazz,” the organization has been steadfast in its commitment to broadening and deepening the public’s awareness of and participation in jazz. -
Wycliffe Gordon at GRU
World-renownedtrombonist Practiceby Jim Garvey makes Wycliffehas reached Gordon the pinnacle ofand music now success he is Perfect with the sharing his expertise music department at GRU. HOW DO YOU GET TO GRU’S MAXWELL THEATRE? PRACTICE, PRACTICE, PRACTICE. At least that’s how Wycliffe Gordon, the best jazz trombonist in the world, got there. After years of teaching at Juilliard and the Manhattan School of Music, touring the world with Wynton Marsalis and the Lincoln Center Jazz Orchestra, performing with symphony orchestras, recording, com- posing, arranging, giving workshops, lectures and master classes, Gordon was finally offered the job he’s been preparing for all these years: artist-in-residence in GRU’s Department of Music. “I’ve come full circle, teaching at a university in my own town after teaching all over the world,” Gordon says. “I’m from here. My high school, Butler High School, is here. My mom lives here. Coming to GRU is Jazz trombonist and composer Wycliffe Gordon performs on stage at like icing on the cake.” u Davidson Fine Arts School in 2008. 32 • Augusta April 2015 April 2015 Augusta • 33 “...a full, powerful tone, slurring then slippingsliding and growling BUT TRADING IN NEW YORK CITY FOR HEPHZIBAH? His fame is never on display. With his round, boyish face and twinkling eyes, “I had a place in New York for 15 “During his solo, Gordon locked in Currier, an opera singer who has sung he’s more playful imp than musical phenom. Still phenom is what he is. years. I’ve had enough pretty much. -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [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; North Carolina: Robin -
Dr. Michael White Is One of Todays Primary Exponents of Classic New Orleans Jazz
TKA BIOGRAPHY Current as of 9/2011 Dr. Michael White A NIGHT IN TREME Dr. Michael White is one of todays primary exponents of classic New Orleans jazz. The unique experiences that the clarinetist has had throughout his career and his ability to articulate the significance and timelessness of the music has made him a highly influential force and performer. Having suffered tremendous losses due to Hurricane Katrina, White has emerged with what promises to be his finest CD, Blue Crescent. This set of new New Orleans music features him, like the Crescent City, determined to rebuild, keeping the classic style not only alive but continually creative, and looking towards both the past with loving memory and the future. Last December, Dr. Michael White had his first break since Katrina. Exhausted from having to deal with personal and professional difficulties, he took time off to stay at the local artist retreat facility, A Studio In The Woods. Thinking about his next recording, he felt suddenly rejuvenated and inspired, writing over three dozen songs within a short period of time. The 36 plus songs represent more than I had written in my whole life, says the clarinetist. In the music what Ive tried to do is think about the importance of New Orleans, the history of the Crescent City, the after-effects of Hurricane Katrina, and the future. What I did not want to do was have a maudlin post- Katrina recording with an excess of sadness. Most of the songs are intended to represent the joyous part of New Orleans, the determination to carry on and the musics heritage. -
Guitar Channel)
RENEGADE CREATION Michael Landau (Guitar); Robben Ford (Guitar); Jimmy Haslip (Bass); Gary Novak (Drums) Renegade Creation is the new record by veteran musical giants, Michael Landau, Robben Ford, Jimmy Haslip and Gary Novak. Blending together to create a blues-driven sound that not only will satisfy their individual fans but is fresh enough to attract a legion of new fans as well. Delivering bothrootsy, blues/rock vocal tunes and fiery instrumentals, the band draws on the unique guitar interplay between guitar giants Robben Ford and Michael Landau who inspire each other to new personal bests. Review Renegade Creation (Blues Bureau International - a division of Shrapnel Records) is a thinking man's blues rock album featuring a dream-team of four top shelf musicians - Michael Landau (guitar), Robben Ford (guitar), Jimmy Haslip (bass) and Gary Novak (drums). Though this is the first time the four have recorded an album together, it's not as though there's no history between these players. Ford and Haslip go back to the pre-Yellowjackets days, Landau has played with Ford many times (including a late-70s west coast tour that included Haslip), both Landau and Ford have used Novak on various tours and recordings, you get the idea. Some of you may envision "west coast jazz" when you think of these musicians, but what they've done here is far removed from that scene. Renegade Creation is a guitar-driven, predominantly vocal rock album, with a heavy emphasis on blues; more akin to Ford and Landau's vocal recordings than any manner of jazz or fusion. -
Yellowjackets Club Nocturne Mp3, Flac, Wma
Yellowjackets Club Nocturne mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Club Nocturne Country: Germany Released: 1998 Style: Jazz-Rock, Fusion MP3 version RAR size: 1350 mb FLAC version RAR size: 1902 mb WMA version RAR size: 1680 mb Rating: 4.3 Votes: 897 Other Formats: ADX DTS AU WAV DMF AC3 VQF Tracklist Hide Credits Spirit Of The West 1 Composed By – Russell Ferrante Stick To It Ive Ness 2 Composed By – Russell Ferrante Up From New Orleans 3 Composed By – Bob MintzerVocals – Kurt Elling The Evening News 4 Composed By – Bob Mintzer, Russell Ferrante, William Kennedy Even In The Pain 5 Backing Vocals – Jonathan Butler, Richard PageComposed By – Richard PagePercussion – Munyungo JacksonVocals – Jonathan Butler Love And Paris Rain 6 Composed By – Brenda Russell , Russell Ferrante, William KennedyGuitar – James HarrahVocals – Brenda Russell The Village Church 7 Composed By – Russell Ferrante Twilight For Nancy 8 Composed By – Jimmy Haslip, Russell Ferrante Automat 9 Composed By – Jimmy Haslip, Russell Ferrante All Is Quiet 10 Composed By – Bob Mintzer, Kurt EllingVocals – Kurt Elling Companies, etc. Recorded At – Sunset Sound Recorded At – One On One Studios Recorded At – Royaltone Studios Mixed At – The Village Mixed At – Sony Music Studios, Los Angeles Mastered At – The Mastering Lab Credits Art Direction – Hillary Sunenshine, Margi Denton Bass – Jimmy Haslip Coordinator [Production Coordinator] – Sally G. Poppe Design – Hillary Sunenshine, Margi Denton Drums – William Kennedy Engineer [Assistant] – Curt Kroeger, David Nottingham, Doug Boehm, Jason Mauza, Jeff Robinette, Steve Harrison, Troy Gonzalez Keyboards – Russell Ferrante Mastered By – Doug Sax Mixed By – Rich Breen Photography – Marina Chavez Piano – Russell Ferrante Producer – Yellowjackets Recorded By – Rich Breen Soprano Saxophone – Bob Mintzer Tenor Saxophone – Bob Mintzer Barcode and Other Identifiers Barcode: 9362-47031-2 Other versions Category Artist Title (Format) Label Category Country Year Club Nocturne (CD, Warner Bros.