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I the Use of African Music in Jazz from 1926-1964: an Investigation of the Life
The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston by Jason John Squinobal Batchelor of Music, Berklee College of Music, 2003 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Ethnomusicology University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Jason John Squinobal It was defended on April 17, 2007 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Thesis Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2007 iii The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston Jason John Squinobal, M.A. University of Pittsburgh, 2007 ABSTRACT There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston’s father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston’s consciousness. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
Little Niles
Jazz Lines Publications Little Niles Presents recorded by the phil norman tentet Arranged by bob florence prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score jlp-7861 Music by Randy Weston © 1957 (Renewed 1985) Mayflower Music Corp. This Arrangement Has Been Published with the Authorization of Phil Norman Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA phil norman Tentet series LIttle Niles Background: Listening to the Phil Norman Tentet is like hearing the very essence of the best big band jazz – with all the thrills of that remarkable sound, but a lot less volume. Big bands are often described as the symphony orchestras of jazz. More than that, big band instrumentation has been vital to the soundtrack of American life for nearly a century. But mid-sized bands such as the Tentet have played an equally vital role as the chamber ensembles of jazz, with a similarly rich potential for creative diversity. Think of the Miles Davis Birth of the Cool bands, the West Coast jazz bands of the fifties, the Mingus bands, and – more recently – the octets of Dave Holland and David Murray. Each is different from the other, finding new, illuminating ways to use an instrumentation of eight to ten or eleven players in authentic jazz fashion. The Norman Tentet (actually eleven, since Norman doesn’t include himself in the number count) has been doing precisely that for more than fifteen years now. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
An Investigation of the Life, Influences, and Music of Randy Weston
An Investigation of the Life, Influences, and Music of Randy Weston by Jason Squinobal, Ph.D. [email protected] Assistant Professor of Music; Director of Instrumental Music, Virginia Wesleyan University, Virginia Beach, Virginia Introduction In an article written in 1973 for the journal, Black Perspectives in Music, J.H. Kwanbena Nketia highlights the important and continual relationship between African and African American music. Nketia states “The relationship between African and Afro-American music is dynamic and unbroken at the conceptual level in spite of the differences in materials to which these concepts are applied.”1 This statement articulates the importance of African music in the creation of African American music, at its inception, and continued development of African American music in modern times. This relationship has not always been recognized in past music scholarship. Nketia says, “The importance of the music of Africa in historical studies of Afro-American music has tended to be seen more as providing a point of departure than as something that continues to be relevant to the present.”2 There are studies that give African music credit for the continual influence it has had on African American music; however, Nketia’s words are as relevant today as they were in 1973. It is my intention to present a study that is sensitive to the claims made by Nketia. The work presented here identifies the continued application of traditional African musical and cultural traits in jazz composition and performance. Many jazz musicians utilized traditional African traits in their music. Randy Weston was not the first musician to do so, however jazz fans and scholars will remember him because his experiences, influences, and music clearly demonstrate the importance traditional African culture played in his life. -
"Extraordinarily Phones, the Clariry Is Jaw-Dropping
RECORD REVIEWS tAzz Through Grado SR-225 head- "extraordinarily phones, the clariry is jaw-dropping. Yes, surface noise is significant, but it POYYerful... varies th,roughout, sometimes within unGolor€d... a single track. Balancing pros and cons of sound quality versus historical .natural" value can make bootleg releases an ift proposition in general, but in this case -./ohn Atkinso4 Stereophih the lamer prioriry wins out. The historical importance of the 1940 recording of '8ody and Soul" by Coleman Hawkins that begins this COLEMAN HAWKINS & FRIENDS collection can't be overstated. Two The Savory Collection, Volume No.01: more swinging, beautifully arranged Body and Soul Hawkins numbers follow, then rwo Coleman Hawkins, Herschel Evans, tenor saxophone; from Ella with Chick Webb. Then a Ella Fitzgerald, vocal; Charlie Shavers, trumpet; come rouglrly 25 blissful minutes, six Emilio Caceres, violin; Carl Kress, Dick McDonough. tracks in all, from Fats Waller and His U guitar; Fats Waller, piano, vocal; Lionel Hampton, vibraphone, piano, vocal; Milt Hinton, bass; Cozy Rhythm (before nearly every number, Cole, drums; others Fats implores his public to "Latch National Jazz Museum in Harlem NJMH-0112 on!"). Next, in a Lionel Hampton-led (MP4).2016. William Savory, orig. prod., eng.; Ken Druker, Loren Schoenberg, reissue prods.; Doug jam session with Herschel Evans, Pomeroy, restoration, mastering. A-D. TT: 70:43 Charlie Shavers, Milt Hinton, Cozy jazzmuseuminharlem.org,/the-museum/ See hltp'.// Cole, and others, Hamp plays vibes collections,/the-savory-collection ? and piano and sings, blowing them all PERFoRMANcE ffi off the bandstand. Herschel's ballad soNrcs EXXdE fearure, "Stardust." compares interest- This music is culled from aluminum ingly with Hawk's "Body and Soul." and lacquer discs that, over the course The last rwo racks are more inti- of decades, rotted in the home of one mate curiosities, wonderful in their Bill Savory. -
SWR2 Musikstunde: Jazz Across the Border SWR2, 6.Oktober 2018 9.05 – 10.00 Uhr Manuskript: Günther Huesmann
Musikstunde Jazz across the border Von Günther Huesmann Sendung: 06. Oktober 2018 Redaktion: Martin Roth Produktion: 2018 SWR2 können Sie auch als Live-Stream hören im SWR2 Webradio unter www.SWR2.de, auf Mobilgeräten in der SWR2 App, oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2- Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Die neue SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app SWR2 Musikstunde: Jazz across the border SWR2, 6.Oktober 2018 9.05 – 10.00 Uhr Manuskript: Günther Huesmann Mit Günther Huesmann, guten Morgen! Willkommen zu Jazz across the border, heute mit einer Hommage an zwei kürzlich verstorbene Musiker, die auf ganz unterschiedliche Weise dem Jazz feinfühlige weltmusikalische Antennen aufgesetzt haben: der eine für die Sounds aus Afrika, der andere für die Klänge aus Lateinamerika. Wir bringen Musik von dem Pianisten Randy Weston und dem Trompeter und Perkussionisten Jerry Gonzalez. Jazzfest Berlin 1982. -
Press Release
Solos and Duos Series Glenn Siegel, Program Director 15 Curry Hicks, 100 Hicks Way (413) 545-2876 University of Massachusetts [email protected] Amherst, MA 01003 www.fineartscenter.com THE 2010 SOLOS & DUOS SERIES PRESENTS: Randy Weston The Solos & Duos Series, produced by the Fine Arts Center at the University of Massachusetts, Amherst, concludes its 9th season with a concert by Randy Weston on Thursday, November 18, in Bowker Auditorium at 8:00pm. After six decades as a professional musician Randy Weston remains one of the world's foremost pianists and composers, a true innovator and visionary. "Weston has the biggest sound of any jazz pianist since Ellington and Monk,” writes Stanley Crouch. In a career that began in the late 1940s, Weston has criss- crossed the globe connecting the African diaspora through sound. “Mr. Weston is a truth seeker who sees a power in music much greater than all of us,” writes The New York Times. Born in Brooklyn in 1926, Weston’s first recording as a leader came in 1954 on Riverside Records, Randy Weston plays Cole Porter - Cole Porter in a Modern Mood. In the 50's Weston played around New York with Cecil Payne and Kenny Dorham and wrote many of his best loved tunes, "Saucer Eyes," "Pam's Waltz," "Little Niles," and, "Hi-Fly", now all jazz standards. In the 1960s, Weston's music prominently incorporated African elements, as in the large-scale suite Uhuru Africa (with poet Langston Hughes) and Highlife: Music From the New African Nations. On both these albums he teamed up with the arranger and his long-time collaborator, Melba Liston. -
2009 Festival Brochure
ELEVENTH ANNUAL Artisitc Director Jessica Felix James Moody Quartet with special guest Marlena Shaw Randy Weston’s African Rhythms BAy AReA LegendS: Denny Zeitlin - Solo Piano John Handy and the Bay Area Melding Pot Stars of BraziL: Toninho Horta trio with special guest Airto Trio da Paz Leny Andrade with Stephanie ozer esperanza Spalding Quartet Julian Lage group oakland interfaith gospel Choir Richard Howell Quintet Montclair Women’s Big Band Rising Stars Concert with Debbie Poryes trio Jason Bodlovich Quartet Noam Lemish Quintet Jazz tastings – music and wine pairings at tasting rooms around the Plaza and many more performers... Painting (detail): Robin Eschner WWW . HEALDSBURGJAZZFESTIVAL . ORG M A J O R S P O NS or S OFF I C ia L S P O NS or S SA SYST O EM R S A , T I N N C A . S T SRS O S T N A O L I E T Q U U OL IPMENT S BU S I N E SS S P O NS or S HEALDSBURG LODGING GRAPHITE STUDI O COALITION CO MM UNICAT I O N D E S I G N official airline sponsor TA S TI N G R O O M SP O NS OR S GRA N TI N G A G E NC IE S Artiste Winery Steinway Pianos Provided by Bottle Barn/Wine Annex Sherman Clay San Francisco, Topel Winery CA T HE H EALDSBURG J AZZ F ES T IVAL , I NC . IS A 5 0 1 ( C ) ( 3 ) NON - PRO F I T ORGANIZAT ION Friday, May 8: “Havana Nights” Healdsburg Jazz Festival Gala Dinner, Dance, and Auction Celebrating the 11th Anniversary of the Healdsburg Jazz Festival with wine, food, music, and a fund-raising auction to the benefit the Festival’s Education Program. -
March April 2006
march/april 2006 issue 280 free jazz now in our 32nd year &blues report www.jazz-blues.com Jason Moran and The Bandwagon Randy Weston Yellowjackets Diane Schuur PLUS...Regina Carter, Bela Fleck & the Flecktones, Manhattan Transfer, Mulgrew Miller, Rebirth Brass Band...Jazz Meets Hip-Hop, Jazz Brunch & more... Get The Scoop...INSIDE! Published by Martin Wahl Communications Editor & Founder Bill Wahl Layout & Design Bill Wahl Operations Jim Martin Pilar Martin Contributors Michael Braxton, Mark Cole, JazzFest Time is Here Chris Hovan, Nancy Ann Lee, Festival is Expanding to Year-Round Live Jazz Peanuts, Mark Smith, Duane Verh and Ron Weinstock. For close to three decades now, mance by the Manhattan Transfer Jazz & Blues Report has featured will be held at the Ohio Theatre on Check out our new, updated web the Tri-C JazzFest in our issue at page. Now you can search for CD Saturday, April 22. Tri-C JazzFest Reviews by artists, Titles, Record this time every year. Once again, we Cleveland officially kicks off on Labels or JBR Writers. Twelve years are happy to announce yet another Wednesday April 26 at 5 p.m. with a of reviews are up and we’ll be going edition of this premier jazz festival, New Orleans-style “second line” pa- all the way back to 1974! and their expansion to year-round rade, complete with fans, admirers jazz. and festival revelers. Leading the Tri- Now in its 27th year, Tri-C Address all Correspondence to.... C JazzFest Second Line is the Re- Jazz & Blues Report JazzFest Cleveland has been a dy- birth Brass Band, who will end the 19885 Detroit Road # 320 namic force in cultivating the next procession at the House of Blues for Rocky River, Ohio 44116 generation of jazz music lovers a swinging party with The Tri-C Jazz Main Office ..... -
World-Renowned Pianist and NEA Jazz Master Randy Weston Dies at 92 April 6, 1926 – September 1, 2018 NEW YORK, NY, September 1
World-renowned Pianist and NEA Jazz Master Randy Weston Dies at 92 April 6, 1926 – September 1, 2018 NEW YORK, NY, September 1, 2018 – Randy Weston, NEA Jazz Master, Doris Duke Impact Award recipient, United States Artist Fellow and Guggenheim Foundation Fellow has died. The legendary pianist transitioned peacefully at his home today, announced his wife and business partner Fatoumata Weston. He was 92. Weston has been laying down his distinctive rhythms since his first CD, Cole Porter in a Modern Mood, in 1954 right up to The African Nubian Suite, released in 2016. Throughout his prolific 65-year recording career, Weston drew connections between the jazz and blues that surrounded him while growing up in Brooklyn and the music of Africa, his ancestral homeland. The pianist’s long-time attorney Gail Boyd, said, “I spoke with Randy and Fatou just yesterday afternoon, and he seemed the picture of health as we discussed plans for travel and performances across the US, the Caribbean and Africa. His sudden death is another reminder that we all need to live life to the fullest, and Randy did just that, bringing love and joy to his family, friends and fans.” Randy Weston was born in Brooklyn, New York, on April 6, 1926, to a Panamanian father and a mother originally from Virginia. Unlike many African Americans of his generation who acknowledged little connection between themselves and the mother continent, Weston proudly proclaimed himself an African from an early age, thanks largely to the influence of his father, Frank Edward Weston. “I was always reading and imagining what it was like in Africa before it was invaded. -
0Alumnos Coleccion Savory, Articulo
http://www.elmundo.es/america/2010/08/23/gentes/1282577752.html Harlem recupera una colección de jazz de valor incalculable (23/08/2010) Ella Fitzgerald. I The jazz Museum in Harlem Una colección de casi mil discos con grabaciones inéditas de actuaciones en directo de grandes iconos del jazz, como Billie Holiday o Ella Fitzgerald, y mantenida en secreto durante cerca de 70 años, se ha convertido en la joya más preciada del Museo Nacional del Jazz de Harlem en Nueva York. "Tiene un valor incalculable. ¿Se puede poner precio a una estatua de un faraón de la que sólo existe un ejemplar? No", aseguró el director del museo, Loren Schoenberg, el responsable de su rescate después de años tras la colección. Con su llegada al barrio de Nueva York donde se gestaron variantes del jazz como el sonido bebop y se pasearon intérpretes como Charlie Parker (1920-1955), Harlem recupera un material básico para conocer la historia de la música nacida a finales del siglo XIX en Louisiana en el seno de las comunidades afroamericanas. La enigmática recopilación, que comprende más cien horas de música en directo, fue confeccionada entre 1935 y 1941 por el ingeniero de sonido William Savory, quien, aprovechando los recursos técnicos de su trabajo, grabó actuaciones únicas de los grandes nombres de la era dorada del jazz. La colección de Savory fue durante años una obsesión para el director del Museo Nacional de Jazz de Harlem, quien supo de su existencia en 1980 cuando, trabajando para el clarinetista Benny Goodman (1909-1986), conoció al ingeniero.