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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. -
Leipziger Jazztage & Richie Beirach Zu Gast Beim Bachfest 2017
PM 3-2017 – Neue Kooperation in Leipzigs Kulturlandschaft – 26. April 2017 (Stand: 23. Mai 2017) Leipziger Jazztage & Richie Beirach zu Gast beim Bachfest 2017 Zum ersten Mal präsentieren die Leipziger Jazztage und das Bachfest Leipzig gemeinsam ein Konzert: Jazzpiano-Legende Richie Beirach aus den USA wird im Rahmen des diesjährigen Bachfests ein Solokonzert spielen – nur wenige Tage nach seinem 70. Geburtstag und genau 50 Jahre nach Erscheinen seines ersten Soloalbums, am 17. Juni 2017 um acht im UT Connewitz Der aus New York stammende Richie Beirach zählt zu den wichtigsten Pianisten des Jazz, spielte mit Giganten wie Lee Konitz, Freddy Hubbard, Stan Getz, John Scofield und Chet Baker. Im Trio mit Violinist Gregor Hübner und Kontrabassist George Mraz hat er in den letzten Jahren beim renommierten Label ACT die Alben »Round about Bartók«, »Round about Federico Mompou« und »Round about Monteverdi« veröffentlicht. Entsprechend dem Namen seines Albums »No Borders« von 2002 zeigt er immer wieder eindrucksvoll, wie die Grenzen von Klassik und Jazz verschwinden, wenn sich ein Gigant wie er von klassischen Stücken ausgehend zu lyrischen Improvisationen aufschwingt. Genau das wird er auch zum Bachfest im UT Connewitz tun: mit Bach in Improvisationen abheben, die das Publikum davontragen. Richie Beirach lebt seit Jahren in Deutschland, war lange Zeit Professor an der Hochschule für Musik und Theater »Felix Mendelssohn Bartholdy« in Leipzig und kehrt nun für ein exklusives Konzert nach Leipzig zurück. Zunächst als klassischer Pianist ausgebildet, fand Beirach über Miles Davis’ »Milestones« zum Jazz, das heißt vor allem: zur Improvisation. Schon bald etablierte er sich in der New Yorker Jazzszene, spielte mit Dave Holland und Jack DeJohnette in Stan Getz’ Band weltweit Konzerte. -
Richie Beirach Ballads Mp3, Flac, Wma
Richie Beirach Ballads mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Ballads Country: Japan Released: 1986 Style: Contemporary Jazz MP3 version RAR size: 1538 mb FLAC version RAR size: 1444 mb WMA version RAR size: 1836 mb Rating: 4.3 Votes: 464 Other Formats: VQF FLAC AAC DMF MMF MP4 DTS Tracklist Hide Credits Elm 1 6:29 Written-By – R.Beirach* My Foolish Heart 2 4:42 Written-By – N.Washington*, V.Young* Infant Eyes 3 5:01 Written-By – J.Carn*, W.Shorter* Blood Count 4 3:15 Written-By – B.Strayhorn* Nightlake 5 4:39 Written-By – R.Beirach* On Green Dolphin Street 6 4:15 Written-By – B.Kaper*, N.Washington* Naima 7 4:44 Written-By – J.Coltrane* Small World 8 5:02 Written-By – J.Styne*, S.Sondheim* Leaving 9 4:45 Written-By – R.Beirach* Over The Rainbow 10 2:57 Written-By – E.Y.Harburg*, H.Arlen* You Don't Know What Love Is 11 5:03 Written-By – D.Raye*, G.D.Paul* Sunday Song 12 5:35 Written-By – R.Beirach* Companies, etc. Recorded At – CBS/Sony Shinanomachi Studio Edited At – CBS/Sony Shinanomachi Studio Credits Art Direction, Design – Yasutaka Kato Concept By [Album Concepts] – LeeAnn Ledgerwood, Richie Beirach* Engineer [Assistant Engineer (Recording)] – Koji Suzuki, Yoshinori Sakuma Engineer [Mastering Engineer] – Tetsuro Tomita Engineer [Recording Engineer] – Akira Fukada Photography By – Koh Hosokawa* Piano – Richie Beirach* Producer – Keiichi Nakamura, Richie Beirach* Notes Digital recorded March, 16, 17 & edited March 21, 1986. Barcode and Other Identifiers Barcode: T4988 009 50805 4 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year 28AP 3165 Richie Beirach* Ballads (LP, Album) CBS/Sony 28AP 3165 Japan 1986 Ballads (CD, Album, Sony Music Labels SICJ 97 Richie Beirach* SICJ 97 Japan 2015 RE) Inc. -
Assisted by Katie Rowan, Accompanist
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Morgan Robertson & Ellie Wise Junior Voice Recital assisted by Katie Rowan, Accompanist Tuesday, April 9, 2013 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM I Wish It So from Juno Marc Blitzstein • 1905 - 1964 My Ship from Lady in the Dark Kurt Weill • 1900 - 1950 Ira Gershwin • 1896 - 1983 Morgan Robertson, Soprano; Katie Rowan, Accompanist Out There from Hunchback of Notre Dame Stephen Schwarts • b. 1948 Alan Menken • b. 1949 There Won’t Be Trumpets from Anyone Can Whistle Stephen Sondhiem • b. 1930 Ellie Wise, Soprano; Katie Rowan, Accompanist Take Me to the World from Evening Primrose Stephen Sondheim The Girls of Summer from Marry Me a Little Morgan Robertson, Soprano; Katie Rowan, Accompanist Glamorous Life from A Little Night Music Stephen Sondheim My New Philosophy from You’re a Good Man, Charlie Brown Clark Gesner • 1938 - 2002 Ellie Wise, Soprano; Katie Rowan, Accompanist Mr. Snow from Carousel Richard Rodgers • 1902 - 1979 Oscar Hammerstein II • 1895 - 1960 Morgan Robertson, Soprano; Katie Rowan, Accompanist My Party Dress from Henry and Mudge Kait Kerrigan • b. 1981 Brian Loudermilk • b. 1983 Ellie Wise, Soprano; Katie Rowan, Accompanist INTERMISSION Always a Bridesmaid from I Love You, You’re Perfect, Now Change Jimmy Roberts Morgan Robertson, Soprano; Katie Rowan, Accompanist Music and the Mirror from A Chorus Line Joe DiPietro • b. -
Full Biography
FULL BIO For forty years, pianist/composer and Fulbright Scholar ARMEN DONELIAN has distinguished himself in 25 countries as a performer, recording artist, master class leader and with his published writings. Donelian’s music is a distinctive blend of 20 influences including his Armenian origin, his Classical technique, and his association with some of the biggest names in Jazz. And, according to Metronom Magazine (1986), he achieves this fusion In such a natural way that one can tell it’s a master’s work. “The best time to learn music,” says Davis and John Coltrane. “Folk, Rock, Dixieland, Jazz, Church, Show and Society music – I played pianist Armen Donelian, “is when you’re them all while growing up,” says Donelian. young, while the brain synapses are still open and fresh. I started playing by ear “In college, I made money by accompanying when I was 5 or 6, and started classical theater and dance classes, providing cocktail music piano lessons when I was about 7 at the at a restaurant on campus and playing and Westchester Conservatory of Music. I arranging for an 8-piece Jazz/Rock band. After was lucky to have parents who supported graduation, I had no gigs, no direction, and lived at my musical aspiration.” home for a few months. My ex-girlfriend’s mother told me, ‘Armen, nothing is going to happen unless As a child, Armen absorbed the sound of you make it happen.’ Armenian, Turkish, Greek and Middle Eastern music at social gatherings and “So, after graduating from Columbia University in from records his father played at home. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard. -
Bill Evans •••••••••••••••••••••• Turn out the Stars the Final Village Vanguard Recordings June 1980
6 DISC SET Bill Evans •••••••••••••••••••••• Turn Out the Stars The Final Village Vanguard Recordings June 1980 Though these extraordinary 1980 recordings were made only months before pianist Bill Evans’ untimely death on September 15, 1980, at the age of 51, they capture a beginning far more than an end. At the time of their initial release in 1996, jazz critic Gary Giddins hailed them as “an important find – the most lyrical of improvisers was revitalized by a new trio in his favorite jazz club.” Fellow Village Voice writer Will Friedwald concurred: “Evans is as irrepressibly romantic as ever on these live recordings, but at the same time there’s an aggression to his playing that makes these newly discovered documents some of the most exciting music of his career... he proves that he can really tear into the keyboard and still sound like Bill Evans. Continually prodded by [bassist Marc] Johnson and [drummer Joe] LaBarbera even as he's inspiring them, this is tenderness supported by strength and even bite.” Evans had clearly found players to match his first trio from 20 years earlier, which had cut a landmark live recording at the Village Vanguard in 1961. That now-legendary lineup of bassist Scott LaFaro and drummer Paul Motion was shattered by the tragic death of LaFaro in a car crash. A sense of history and a feeling of renewal inform these 1980 sessions, and they illustrates the serious chemistry between Evans and his young accompanists. As pianist and friend Hank Danko recalls in his liner-notes essay, “When the trio lit into its ensemble passages, the impact was not unlike that of a roaring big band. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication. -
An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2011 An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill Elizabeth Rose Williamson Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Williamson, Elizabeth Rose, "An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill" (2011). Honors Theses. 2157. https://egrove.olemiss.edu/hon_thesis/2157 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. AN ANALYSIS OF PERSONAL TRANSFORMATION AND MUSICAL ADAPTATION IN VOCAL COMPOSITIONS OF KURT WEILL by Elizabeth Rose Williamson A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2011 Approved by Reader: Professor Corina Petrescu Reader: Professor Charles Gates I T46S 2^1 © 2007 Elizabeth Rose Williamson ALL RIGHTS RESERVED II ACKNOWLEDGEMENTS I would like to thank the people of the Kurt Weill Zentrum in Dessau Gennany who graciously worked with me despite the reconstruction in the facility. They opened their resources to me and were willing to answer any and all questions. Thanks to Clay Terry, I was able to have an uproariously hilarious ending number to my recital with “Song of the Rhineland.” I thank Dr. Charles Gates for his attention and interest in my work. -
Title Composer Lyricist Arranger Cover Artist Publisher Date Notes G
Title Composer Lyricist Arranger Cover artist Publisher Date Notes G. I. Jive Johnny Mercer Johnny Mercer Holley Capitol Songs, Inc. 1943 Gaby Glide, The Louis A. Hirsch Harry Pilcer Starmer Shapiro Music Pub. Co. 1911 For Guitar & 2nd Mandolin, Gaiety Polka F. O. Gutman F. O. Gutman n.d. handwritten Piano acc. Gal in Calico, A Arthur Schwartz Leo Robin A. Joel Robinson Remick Music Corporation 1946 Galway Bay Dr. Arthur Colahan Dr. Arthur Colahan Leeds Music Corporation 1947 Key of F "Game of Tag, A" (Humoresque) Geo. J. Trinkaus M. Witmark & Sons 1911 For Orchestra "Game of War, The" Warren R. Walker Chas. W. Doty Edwin S. Brill 1903 Games That Lovers Play (Eine Gunter Loose Ganze Nacht) James Last (German) Hirschfeld Miller Music Corporation 1966 Gang that Sang "Heart of My Heart", The Ben Ryan Ben Ryan Robbins Music Corporation 1946 Garden in Our Back Yard, The James Brockman Jeff Branen Kendis-Brockman Music Co. 1917 Garden in the Rain, A Carroll Gibbons James Dyrenforth Leff Gene Austin Inc. 1929 Garden of Dreams, The Clare Kummer Clare Kummer Jerome H. Remick & Co. 1908 Garden of Dreams (Reverie, Serenade) Harry J. Lincoln Vandersloot Music Pub. Co. 1909 Garden of Dreams, The (Waltz) Ernest Nield Carl Fischer Inc. 1927 For 1st Violin Garden of Roses, The Johann C. Schmid J. E. Dempsey Jerome H. Remick & Co. 1909 G minor - Medium voice Garden of Roses, The Johann C. Schmid J. E. Dempsey de Takacs Jerome H. Remick & Co. 1909 F minor; Vocal Duet Garden of Roses, The (Der Rosengarten) Duet Johann C. -
Songs by Artist
YouStarKaraoke.com Songs by Artist 602-752-0274 Title Title Title 1 Giant Leap 1975 3 Doors Down My Culture City Let Me Be Myself (Wvocal) 10 Years 1985 Let Me Go Beautiful Bowling For Soup Live For Today Through The Iris 1999 Man United Squad Loser Through The Iris (Wvocal) Lift It High (All About Belief) Road I'm On Wasteland 2 Live Crew The Road I'm On 10,000 MANIACS Do Wah Diddy Diddy When I M Gone Candy Everybody Wants Doo Wah Diddy When I'm Gone Like The Weather Me So Horny When You're Young More Than This We Want Some PUSSY When You're Young (Wvocal) These Are The Days 2 Pac 3 Doors Down & Bob Seger Trouble Me California Love Landing In London 100 Proof Aged In Soul Changes 3 Doors Down Wvocal Somebody's Been Sleeping Dear Mama Every Time You Go (Wvocal) 100 Years How Do You Want It When You're Young (Wvocal) Five For Fighting Thugz Mansion 3 Doors Down 10000 Maniacs Until The End Of Time Road I'm On Because The Night 2 Pac & Eminem Road I'm On, The 101 Dalmations One Day At A Time 3 LW Cruella De Vil 2 Pac & Eric Will No More (Baby I'ma Do Right) 10CC Do For Love 3 Of A Kind Donna 2 Unlimited Baby Cakes Dreadlock Holiday No Limits 3 Of Hearts I'm Mandy 20 Fingers Arizona Rain I'm Not In Love Short Dick Man Christmas Shoes Rubber Bullets 21St Century Girls Love Is Enough Things We Do For Love, The 21St Century Girls 3 Oh! 3 Wall Street Shuffle 2Pac Don't Trust Me We Do For Love California Love (Original 3 Sl 10CCC Version) Take It Easy I'm Not In Love 3 Colours Red 3 Three Doors Down 112 Beautiful Day Here Without You Come See Me