Marsalis Shows Diversity
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Wynton Marsalis Happy Birthday Transcription Pdf Free
Wynton Marsalis Happy Birthday Transcription Pdf Free 1 / 4 Wynton Marsalis Happy Birthday Transcription Pdf Free 2 / 4 3 / 4 Print and download Caravan sheet music by Wynton Marsalis arranged for Trumpet or Piano. Instrument/Piano/Chords, and Transcribed Solo in Bb Major. Your high-resolution PDF file will be ready to download in the original published key . Song Spotlight Signature Artists Sales and Promotions Free Sheet Music.. Sep 6, 2018 . Marsalis at the Oskar Schindler Performing Arts Center Seventh Annual Jazz Festival in 2009. Background information. Birth name, Wynton.. essential and the necessary references are in general noted in the pdf. to present this unique collection of transcriptions which he has compiled over a span of . Several years before Wynton Marsalis gained headlines for helping to revive . Baker took the Armstrong role, comfortably confounding the date on his birth.. Transcription of Wynton Kelly's piano solo on the Bb blues tune "Kelly Blue" from . Wynton Marsalis and the Jazz at Lincoln Center Orchestra Monday, March 18, . Father of Jazz Though the precise birth of jazz is still shrouded in mystery,.. Chords for Wynton Marsalis Playing Happy Birthday - transcription of the improvisation. Play along with guitar, ukulele, or piano with interactive chords and.. Amazon.com: Wynton Marsalis - Omnibook: for B-flat Instruments . members save up to 20% on diapers, baby food, & more Baby Registry Kids Birthdays . on orders over $25or get FREE Two- Day Shipping with Amazon Prime . Trumpet Omnibook: For B-Flat Instruments Transcribed Exactly from Artist Recorded Solos.. 12 2016 . Wynton Marsalis - Moanin Trumpet Solo [Free PDF] 02:22 . -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 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 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. 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. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
BRANFORD MARSALIS Band, and We Got out of It What We Needed 10 Jazz Records
JULY/AUGUST 2012 ISSUE MMUSICMAG.COM JULY/AUGUST 2012 ISSUE MMUSICMAG.COM MUSICIAN Why the provocative title? in 2001, we were huffing and puffing when ESSENTIAL MARSALIS I actually didn’t want to call the record that. it was over. I bit through my lip—there was Every time I make an album, I never come up blood all over my mouthpiece. I’m blessed with a title, and my management company that I don’t have a fear of sounding bad in THE BEAUTYFUL presses me for one. To buy time, I come front of people. When I listen to early jazz ONES ARE NOT up with the stupidest title I can think of. So and read about it, there wasn’t a fear of YET BORN when they asked this time, I told them. They failure. Cats would just go out and play. Now (1991) said, “That’s great!” I said, “Not great. You guys practice, practice, practice, then they It took Marsalis several can’t use that!” Yes, I’ve got a potty mouth, rehearse for six days, then they make the years to find his way as but I don’t just put it out there. But they ran record and it sounds like a bulwark against a leader, and it wasn’t until this release, with it. Usually they’re telling me, “You can’t the possibility of something spontaneous seven years after his solo debut, that he use that.” But this time they loved it, so I said, actually happening. left no doubt he was to be a major player. -
11-14-14 Jazz Ensemble
Williams College Department of Music Williams Jazz Ensemble Kris Allen, Director Program I Know, You Know - Nathan Parker-Smith Tango For Hayley - Nathan Parker-Smith Woody N' You - John Birks "Dizzy" Gillespie arr. Earl MacDonald Brooklyn Blues - Dan Pugach Horizons - Michael Webster Dual Meaning - Nathaniel Vilas '17 Dienda - Kenny Kirkland, arr. Kris Allen Donna Lee - Charlie Parker arr. Marty Paich Personnel Henry Hobbs '18, alto saxophone Jack Ferguson '18, alto saxophone Sammi Jo Stone '17, baritone saxophone, oboe Kris Allen, soprano saxophone, director Kevin Eagan '15, French horn Jeff Sload '17, trombone Jonathan Dely '15, trumpet Daniel Fisher '18, trumpet Paul Heggeseth, trumpet Nathaniel Vilas '17, piano, bassoon Jack Hood '18, piano Jack Schweighauser '15, guitar Greg Ferland '16, bass Brian Levine '16, drums Scott Daniel '17, violin Gary Chen '18, violin Isabel Hanson '16, flute Christopher Hough Deane '18, clarinet, bass clarinet Yitong Tseo '17, cello James Bergin, viola Joe Jewett, viola Friday, November 14, 2014 8:00 p.m. Brooks-Rogers Recital Hall Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. The Williams Jazz Ensemble is the cornerstone of a large and vibrant com- munity of faculty members and students interested in big band, small ensembles, and vocal combinations of jazz at the college. Kris Allen leads the Williams Jazz Ensemble. Every year guest artists and clinicians come to campus to work with students and to perform. Past visitors have included the Branford Marsalis Quartet, The David Sanchez Quintet, Winard Harper, The Marcus Roberts Trio, Ellingtonian John Lamb, and Saxophonist Claire Daly. Guest lecturers have included Dr. -
Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By
TONE PARALLELS IN MUSIC FOR FILM: THE COMPOSITIONAL WORKS OF TERENCE BLANCHARD IN THE DIEGETIC UNIVERSE AND A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON Johnathan B. Horton B.A., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Richard DeRosa, Major Professor Eugene Corporon, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Horton, Johnathan B. Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton. Doctor of Musical Arts (Performance), August 2017, 46 pp., 1 figure, 24 musical examples, bibliography, 49 titles. This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non- diegetic tone parallel that musically narrates several authentic characteristics of African- American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. -
For Immediate Release Exclusive Sfjazz 'Fridays At
FOR IMMEDIATE RELEASE Media Contact: TJ Gorton [email protected] 415.283.0309 EXCLUSIVE SFJAZZ 'FRIDAYS AT FIVE' FOUR-PART BROADCAST TO BENEFIT WAYNE SHORTER Four Historic Wayne Shorter Celebration Concerts From January 2019 Featuring Herbie Hancock, Kamasi Washington, Branford Marsalis, Terence Blanchard, Terrace Martin, Danilo Pérez, John Patitucci, and Brian Blade to Air on SFJAZZ “Fridays at Five” Online Series (SAN FRANCISCO, CA, May 18, 2020) -- SFJAZZ announced a historic Wayne Shorter Celebration concert series with Herbie Hancock, Kamasi Washington, Branford Marsalis, Terence Blanchard, Terrace Martin, Danilo Pérez, John Patitucci, Brian Blade, and more will be broadcasted for the first time ever on “Fridays at Five.” For these four-night broadcasts, all contributions will go directly to the Wayne Shorter fund to support his ongoing medical needs. All concerts also feature members of Wayne Shorter’s quartet including pianist Danilo Pérez, bassist John Patitucci, and drummer Brian Blade. “FRIDAYS AT FIVE” is SFJAZZ’s new weekly online membership program launched in the face of the COVID-19 crisis to support SFJAZZ’s ongoing operations and artists in anticipation of reopening. The program is supported by a $5 monthly/$60 yearly membership. Direct support of artists is provided via a “tip jar” that is available prior, during and after the broadcast that is split 50/50 between artist and SFJAZZ. For these four concerts 100% of the “tip jar” proceeds will go to Wayne Shorter for needed medical expenses. BROADCAST DATES Friday, May 22 | 5PM PT w/ Kamasi Washington and Terrace Martin Friday, June 26 | 5PM PT w/ Herbie Hancock, Terence Blanchard, Terrace Martin Friday, July 31 | 5PM PT w/ Branford Marsalis and Terence Blanchard + 1 MORE TBA ABOUT WAYNE SHORTER CELEBRATION CONCERTS Legendary saxophonist and composer Wayne Shorter had been scheduled to perform with his quartet over four nights in Miner Auditorium in January of 2019, but unfortunately an illness that precluded travel prevented Wayne from appearing that week. -
Juilliard Jazz Artist Diploma Ensemble
The Juilliard School presents Juilliard Jazz Artist Diploma Ensemble Tuesday, October 1, 2019, 7:30pm Paul Hall The Beat Goes On: The Art Blakey Sound Bobby Watson, Guest Coach Ben Wolfe, Resident Coach On the Ginza (Wayne Shorter) Ping Pong (Wayne Shorter) Moanin’ (Bobby Timmons) Whisper Not (Benny Golson) Time Will Tell (Bobby Watson) E.T.A. (Bobby Watson) Nica’s Dream (Horace Silver) Up Jumped Spring (Freddie Hubbarde) Program order and selections are subject to change. Changes will be announced from the stage. Performance time: approximately 1 hour and 30 minutes, including an intermission Juilliard thanks the Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable Foundation and the Surdna Foundation, for its support of Juilliard Jazz. Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by the Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Artist Diploma Ensemble (The Duke Ellington Ensemble) Trumpet Josh Lawrence Tenor Saxophone Evan Harris Guitar Félix Lemerle Piano Robbie Lee Bass Cole Davis Drums Zach Adleman About Jazz Ensembles at Juilliard Each of Juilliard Jazz’s small ensembles is named after a jazz legend. This does not mean the named ensemble will solely perform the works of that artist, but invoking these names reminds us, and our audience, of our music’s great history and its interconnectedness. -
After Rock Excursion, Branford Is Back to Jazz
aient After Rock Excursion, Branford Is Back To Jazz week off from Herbie Hancock's "Royal Garden Blues," due for re- Sting's "The Dream Of The Blue For "Romances For Saxophone," BY JIM BESSMAN band, which he joined shortly after lease in September. Turtles" album and ensuing tour. which he says was CBS Master- NEW YORK Following his highly Sting's worldwide tour climaxed Meanwhile, CBS Masterworks Marsalis says he joined Sting's works' idea, Marsalis chose the bulk selec- visible 18 -month recording and tour- with the Amnesty International has issued Marsalis' debut classical experimental project after reaching of the material. Included are ing stint with Sting and a brief for- benefit concerts. set, "Romances For Saxophone," a "saturation point" in his jazz ca- tions from Debussy, Faure, Rach- ay into classical music, Branford Marsalis plans to stay with Han- currently No. 6 on Billboard's Top reer brought on by years of touring maninoff, and Stravinsky. Marsalis has returned to his jazz cock for several more weeks, after Classical Albums chart. The album with the likes of Art Blakey, Lionel "Most classical music written for base with a vengeance. which he will perform various jazz was recorded in London with the Hampton, Clark Terry, and brother the sax sucks," says the outspoken The saxophonist recently com- gigs with such artists as David San- English Chamber Orchestra in May Wynton Marsalis. musician. pleted his second jazz album for Co- born and pianist Ronnie Matthews. 1985 during a three -day break from "You come to a point where you "It has no soul, and the French lumbia, "Royal Garden Blues," at Marsalis will then be putting to- filming "Bring On The Night," the can't tell if you're getting better or way of playing, with altissimo is RCA Studio A in New York during a gether his own band to back up documentary on the making of worse, so you have to move away," notes, fast vibrato, and thin tone, says Marsalis, noting that while the too stiff and not romantic, contrary "rock'n'roll gig" might have made to popular belief," adds Marsalis. -
Scroll the 2017 Biamp PDX Jazz Festival Program
PDX JAZZ FESTIVAL FEBRUARY 16-26 01 PJF17_Cover.indd 1 1/31/17 6:01 PM C M Y CM MY CY CMY K Living Room • Bedroom • Dining Room • Rugs nwrugs.com Jantzen Beach 2100 N. Hayden Island Dr (503) 285-7847 Tanasbourne 16305 #110 NW Cornell Rd (503) 645-7847 Wilsonville 29735 SW Town Center Lp W (503) 682-7847 Sherman Oaks, CA (Los Angeles) (818) 386-7847 - Agoura Hills, CA (Los Angeles) (818) 706-3333 • Las Vegas, NV - (702) 737-7847 Monday - Saturday: 10AM to 7PM - Sunday: 11AM to 6PM NWRugs_1.indd 2 1/31/17 5:59 PM WELCOME elcome to the 14th Annual Biamp PDX Jazz Festival. Some folks have wondered why we dropped “Portland” from our W title last year, but many have also recognized our year-round commitment and expansion for presenting jazz all across the Rose City under our organization name PDX Jazz (and no one will dispute that PDX is the best airport in America—even with the new carpeting). Our tireless pursuit in offering our Citizens of Jazzlandia the finest examples of emerging, established and legacy artists continued unabated this past Fall with eleven shows: Raul Midón, Kamasi Washington, Camila Meza, Bill Frisell, McCoy Tyner, Steve Lehman, and Dave Douglas, among others. We have many great shows planned for the coming season T. S. MONK including Dave Holland, Donny McCaslin, Gerald Clayton, Billy Childs, Anat Cohen, Eliane Elias, Manuel Valera, Marquis Hill and Blacktet, Ambrose Akinmusire, and major surprises to be announced soon. The venues with whom we partner are integral in making sure we can keep bringing this high level of artistry for Portlanders to admire and discover. -
Yannick Nézet-Séguin
This season, this orchestra, this music director, this performance, this moment ... don’t blink. 2020–21 SEASON MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN 1 Welcome to Your Philadelphia Orchestra’s 2020-21 Season Our World NOW is both a visit to the music you know and love and a vision of familiar works heard and perceived in new ways. In this chronological listing of concerts, we invite you to Choose Your Own season of music to fit your tastes, your schedule, and your budget. Pick any six (or more) and relax knowing that you have reserved time in your life for enjoyment, escape, and invigoration. Choose a Create-Your-Own 6-concert series for as little as $39 per concert. Create your own season of music at a savings over individual ticket prices when you subscribe today. Schedule Flexibility Always on the go? We offer subscribers many easy options to exchange tickets with no additional fees so you never Subscriber Benefits have to miss a concert. Everyday Savings Subscribing automatically saves you money over general public single ticket prices. Save up to 20% off single ticket prices depending on the concert and section you choose. Plus, add tickets and the savings continue. Payment Plans There are several payment plans to fit any budget, making it easy to subscribe. Order early, take advantage of our payment plans, and still get the best seats. Discounted Parking Why worry about finding a place to park? As a subscriber, you can purchase pre-paid discounted parking for all your concerts in the Avenue of the Arts Garage, located steps away from the Kimmel Center. -
Jazz Radio Panel P. 22 Jazzweek.Com • September 18, 2006 Jazzweek 13 Airplay Data Jazzweek Jazz Album Chart Sept
JazzWeek with airplay data powered by jazzweek.com • September 18, 2006 Volume 2, Number 42 • $7.95 Industry Q&A: JANA LA SORTE page 10 On The Charts: #1 Jazz Album – Dr. Lonnie Smith #1 Smooth Album – Peter White #1 College Jazz – Madeleine Peyroux #1 Smooth Single – Peter White #1 World Music – Eliane Elias JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger MUSIC EDITOR Tad Hendrickson kay. After beating up on jazz radio a little bit over the last CONTRIBUTING WRITER/ three weeks, I thought I’d better balance it out with some of PHOTOGRAPHER Othe things jazz radio does right and does better than other Tom Mallison formats. PHOTOGRAPHY 1. Jazz radio plays more new artists than any other profes- Barry Solof sional format. Over the last three years, at least 600 albums have Contributing Editors made the JazzWeek top 50. No commercial radio format plays Keith Zimmerman that many new records in a year, and other than some non-comm Kent Zimmerman triple-As and college radio, no other radio genre comes close. (We Founding Publisher: Tony Gasparre can argue about how many of those should be played, but it’s still ADVERTISING: Devon Murphy an impressive and commendable number.) Call (866) 453-6401 ext. 3 or 2. Jazz radio is not part of the whole sleazy money/payola mess. email: [email protected] The lack of money in jazz is certainly part of that, but the relation- SUBSCRIPTIONS: ships between promoters, labels and radio are built on trust, not Free to qualified applicants free electronics, wads of cash, limos or vacations.