The 2011 Annual Bridgewater State University Jazz Festival

Total Page:16

File Type:pdf, Size:1020Kb

The 2011 Annual Bridgewater State University Jazz Festival Born in San Francisco, California, Jeff Galindo attended Berklee College of The Bridgewater State University Music Department presents Music in Boston, Massachusetts on scholarship after high school. He also studied with Hal Crook, Jerry Bergonzi, and George Garzone with grants by the National Endowment of the Arts and began free-lancing in the Boston area. His The 2011 Annual experience includes tours of Europe with Phil Woods and Japan with Makoto Ozone, and tours with the Artie Shaw Orchestra. Jeff has performed with such Bridgewater State University notables as Chick Corea, Clark Terry, Joe Lovano, Buddy DeFranco, Slide Hampton, and Johnny Griffin. He has also performed with Gunther Schuller, Ray Charles, Aretha Franklin, Jerry Bergonzi, Bobby Shew, The Boston Pops Jazz Festival Orchestra, and Sam Butera among many others. In Boston, Jeff performs regularly with the Greg Hopkins Big Band and Nonet, The Galindo/Phaneuf Featuring: Sextet (with which he has released a new cd "Locking Horns" in 1998 and won Boston Magazines "Best of Boston" for a jazz group in 1999), plus his double The East Bridgewater High School Jazz Band quartet with George Garzone. He is currently one of the top free-lancing trombonists in the Boston area. The Bridgewater State Jazz Ensembles With special guest Jeff Galindo Jeff is an Assistant Professor at Berklee College of Music, teaching both trombone and jazz improvisation. He also has an extensive private teaching schedule. Jeff is in high demand as a guest artist and clinician at high schools and universities in Massachusetts, the United States, Canada, and Europe. Saturday In order to assist talented students in the pursuit of th their musical studies and professional goals, the February 12 , 2011 Department of Music has established the Music Scholarship Fund. 7:00PM We welcome donations of any amount for this important undertaking! Please make checks payable to BSU Foundation with Horace Mann Auditorium a note in the memo ‘Friends of Music.’ Boyden Hall Mailing Address: Bridgewater State University Foundation PO Box 42 Bridgewater, MA 02325 The 2011 Annual Bridgewater State University Jazz Festival The East Bridgewater The BSU Jazz Band High School Jazz Band Dr. Donald Running, dir. Ray Ponte, dir. Layup.................................................................Scott Bissonnette Cubano Chant…………………………………………...Ray Bryant World Premier Shiny Stockings…………………………………………..Count Basie Naima…….............................................................John Coltrane arr. Manny Mendelson BSU Jazz Combo Angel Eyes…………..................................................Matt Dennis arr. Dave Barduhn Selections to be announced Woodchoppers Ball……………...........................Woody Herman James-ace Thackston – Tenor Saxophone Matthew Ahrens – Trombone David Smith – Alto Saxophone Matt Trahan – Piano Nick Rice – Bass Melanie Krauss – Alto Saxophone Scott Bissonnette – Guitar Scott Bissonnette – Guitar James-ace Thackston – Tenor Saxophone Ryan Cunningham – Guitar Daniel Maloney – Drums Mary Jo Running – Tenor Saxophone Mark Gavin – Guitar Chelsea Fisk – Baritone Saxophone Bryan Russell – Guitar Ryan DeCoster – Trumpet Nick Rice – Bass James Sheehan – Trumpet James Davidson – Bass Matthew Ahrens – Trombone Daniel Maloney – Drums Cat Jones – Trombone Danny Hatchfield – Trombone The 2011 Annual Bridgewater State University Jazz Festival The East Bridgewater The BSU Jazz Band High School Jazz Band Dr. Donald Running, dir. Ray Ponte, dir. Layup.................................................................Scott Bissonnette Cubano Chant…………………………………………...Ray Bryant World Premier Shiny Stockings…………………………………………..Count Basie Naima…….............................................................John Coltrane arr. Manny Mendelson BSU Jazz Combo Angel Eyes…………..................................................Matt Dennis arr. Dave Barduhn Selections to be announced Woodchoppers Ball……………...........................Woody Herman James-ace Thackston – Tenor Saxophone Matthew Ahrens – Trombone David Smith – Alto Saxophone Matt Trahan – Piano Nick Rice – Bass Melanie Krauss – Alto Saxophone Scott Bissonnette – Guitar Scott Bissonnette – Guitar James-ace Thackston – Tenor Saxophone Ryan Cunningham – Guitar Daniel Maloney – Drums Mary Jo Running – Tenor Saxophone Mark Gavin – Guitar Chelsea Fisk – Baritone Saxophone Bryan Russell – Guitar Ryan DeCoster – Trumpet Nick Rice – Bass James Sheehan – Trumpet James Davidson – Bass Matthew Ahrens – Trombone Daniel Maloney – Drums Cat Jones – Trombone Danny Hatchfield – Trombone Born in San Francisco, California, Jeff Galindo attended Berklee College of The Bridgewater State University Music Department presents Music in Boston, Massachusetts on scholarship after high school. He also studied with Hal Crook, Jerry Bergonzi, and George Garzone with grants by the National Endowment of the Arts and began free-lancing in the Boston area. His The 2011 Annual experience includes tours of Europe with Phil Woods and Japan with Makoto Ozone, and tours with the Artie Shaw Orchestra. Jeff has performed with such Bridgewater State University notables as Chick Corea, Clark Terry, Joe Lovano, Buddy DeFranco, Slide Hampton, and Johnny Griffin. He has also performed with Gunther Schuller, Ray Charles, Aretha Franklin, Jerry Bergonzi, Bobby Shew, The Boston Pops Jazz Festival Orchestra, and Sam Butera among many others. In Boston, Jeff performs regularly with the Greg Hopkins Big Band and Nonet, The Galindo/Phaneuf Featuring: Sextet (with which he has released a new cd "Locking Horns" in 1998 and won Boston Magazines "Best of Boston" for a jazz group in 1999), plus his double The East Bridgewater High School Jazz Band quartet with George Garzone. He is currently one of the top free-lancing trombonists in the Boston area. The Bridgewater State Jazz Ensembles With special guest Jeff Galindo Jeff is an Assistant Professor at Berklee College of Music, teaching both trombone and jazz improvisation. He also has an extensive private teaching schedule. Jeff is in high demand as a guest artist and clinician at high schools and universities in Massachusetts, the United States, Canada, and Europe. Saturday In order to assist talented students in the pursuit of th their musical studies and professional goals, the February 12 , 2011 Department of Music has established the Music Scholarship Fund. 7:00PM We welcome donations of any amount for this important undertaking! Please make checks payable to BSU Foundation with Horace Mann Auditorium a note in the memo ‘Friends of Music.’ Boyden Hall Mailing Address: Bridgewater State University Foundation PO Box 42 Bridgewater, MA 02325 .
Recommended publications
  • Patricia Zarate Perez Other Bios Performance
    Patricia Zarate Perez Other Bios Performance: Patricia started playing the guitar and singing Chilean songs at age 10 in Santiago and Santa Cruz, Chile. She picked up the saxophone at age 13 and studied in Chile with renowned Chilean saxophone players. She moved to the US at age 20 and became the first female Chilean student to graduate from Berklee College of Music. Later, she pursued her master's degree in Jazz Studies at New York University with a full scholarship. Her saxophone teachers in the USA included Jerry Bergonzi, Jackie McLean, George Garzone, among others. Zarate has performed in North, Central, and South America with various bands in diverse settings. She has performed at Lincoln Center, Chicago's Jazz Showcase, Detroit Jazz Festival, Conservatory of Paris, Havana Jazz Festival, among many other sites, and in countries like Korea, Puerto Rico, Panama, Chile, USA, Gabon, Cameroon, Spain, among others. She regularly participates in her husband's (Panamanian pianist Danilo Perez) educational and diplomatic projects, and her life has been immensely influenced by the musical and non- musical lessons of saxophonist Wayne Shorter. Music Therapy: Zarate Perez graduated with the first generation of students from the music therapy department at Berklee College of Music in 1999, where she met her mentor Colin Lee. She worked as a music therapy intern at the Psychiatric Unit of the New Hampshire State Hospital, where she provided music therapy services to acute psychiatric patients. She later worked at the Boston Institute For Arts Therapies and Arts in Progress where she worked with children with behavioral difficulties, autism, and Down Syndrome.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 112 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 112 CONGRESS, FIRST SESSION Vol. 157 WASHINGTON, FRIDAY, JANUARY 7, 2011 No. 3 Senate The Senate was not in session today. Its next meeting will be held on Tuesday, January 25, 2011, at 10 a.m. House of Representatives FRIDAY, JANUARY 7, 2011 The House met at 9 a.m. and was PLEDGE OF ALLEGIANCE GRESSIONAL RECORD daily, and I will called to order by the Speaker pro tem- The SPEAKER pro tempore. Will the continue to do so until Washington pore (Mrs. MILLER of Michigan). gentleman from Illinois (Mr. JACKSON) takes responsibility and ends its reck- less spending addiction. f come forward and lead the House in the Pledge of Allegiance. f DESIGNATION OF THE SPEAKER Mr. JACKSON of Illinois led the PRO TEMPORE Pledge of Allegiance as follows: SEND YOUR RESUMES The SPEAKER pro tempore laid be- I pledge allegiance to the Flag of the (Mr. JACKSON of Illinois asked and fore the House the following commu- United States of America, and to the Repub- was given permission to address the nication from the Speaker: lic for which it stands, one nation under God, House for 1 minute and to revise and indivisible, with liberty and justice for all. WASHINGTON, DC, extend his remarks.) January 7, 2011. f Mr. JACKSON of Illinois. Madam I hereby appoint the Honorable CANDICE S. ANNOUNCEMENT BY THE SPEAKER Speaker, as we enter 2011, we find our- MILLER to act as Speaker pro tempore on selves in the same jobs situation as in this day.
    [Show full text]
  • CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
    M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos.
    [Show full text]
  • Reflective Paper – My Experience in BGJI, Class of 2019
    Reflective paper – my experience in BGJI, class of 2019 My time could be summed up in the Berklee Global Jazz Institute as nothing short of transformative. I have been challenged and stretched beyond my previous predictions and anticipations. The experiences, opportunities and situations I have been exposed to over the past 10 months have cracked me open as musician and human being and led me to realise that there is nothing that can’t be accessed and achieved when one has pure-hearted motive, conviction and persistence. My time could be summed up in the Berklee Global Jazz Institute as nothing short of transformative. I have been challenged and stretched beyond my previous predictions and anticipations. The experiences, opportunities and situations I have been exposed to over the past 10 months have cracked me open as musician and human being and led me to realise that there is nothing that can’t be accessed and achieved when one has pure-hearted motive, conviction and persistence. I began playing the drums at 14 years old and instantly fell in love with the rhythmic responsibility playing a percussion instrument granted me. Since performing professionally at age 16, I have strived to study and seek out guidance and direction towards becoming the greatest musician and drummer I can possible. This serendipitously led me to undertake a Masters degree in the Berklee Global Jazz Institute, spearheaded by artistic director and master pianist Danilo Perez and managing director and renowned saxophonist Marco Pignataro. Through collaborating and learning from the highest calibre of musicians (Terri-Lyne Carrington, Ben Street, John Pattitucci, Joe Lovano, Alan Pasqua and George Garzone, to name a few), including Perez and Pignataro, I experienced and was consistently exposed first-hand, to examples to some of the highest peaks of musical and artistic mastery, accomplishment and integrity.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Billy Drummond U
    Ravi Coltrane I EXCLUSIVE Marian McPartland Book Excerpt DOWNBEAT JACK DEJOHNETTE JACK // RAVI RAVI C OLT R ANE // Jack MA R IAN MCPA IAN DeJohnette’s R TLAN D BIG SOUND // JOEL JOEL Joel Harrison H A rr Endless Guitar ISON // BILLY D BILLY Drum School » Billy Drummond R U mm BLINDFOLD TEST ON D » Bill Stewart TRANSCRIPTION » Tommy Igoe MASTER CLASS » Dan Weiss PRO SESSION NOVEMBER 2012 U.K. £3.50 NOVE M B E R 2012 DOWNBEAT.COM NOVEMBER 2012 VOLUME 79 – NuMBER 11 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes 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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Music Guide 13 the Beat 180 Master Class by ELDAR DJANGIROV 194 Blindfold Test Where to Study Jazz 2017 24 Players 182 Pro Session Dr
    October 2016 VOLUME 83 / NUMBER 10 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
    [Show full text]
  • Saxophone Journal As I Write This Column the Preseason College
    s I write this column the preseason college football poll is (bass), Nick Stabluas (drums) and George Syran (piano). If Aout. For some reason Nebraska is not in the top ten and for no other reason you should by this CD recording for the this must be an oversight. Anyhow, this seemed like the perfect tracks Black Cherry Fritters and Cream De Funk. These two backdrop for discussing my favorite saxophone combination, tunes burn with a freshness that is more meaningful today the duo. than when they were first recorded. I highly recommend this I love jazz saxophone recordings, but something extra special recording for young alto players who need direction in regards seems to happen when you pair two talented musicians and put to sound. them in the moment. Somehow the constraints of the recording process (choosing songs, marketing, packaging concerns, etc.) go 9 by the wayside and the true natural of creativity and perhaps, Conversation With Warne (Criss Cross Jazz) competition come to the fore. Many younger people are not aware of this duo, let alone Born in the backroom jam sessions on the 930s and 40s the Warne Marsh. If they have heard this pair it is usually in the saxophone duo was often presented in the form of a saxophone form of their Warner Brothers album titled Apogee, which as battle. Legend has it that the great Coleman Hawkins used to produced by the Steely Dan pair of Donald Fagen and Walter travel from town to town asserting his superiority in the jam Becker. As good as that album (LP) was, I feel this re-released sessions that he used to frequent.
    [Show full text]
  • Suggested Listening - Jazz Artists 1
    SUGGESTED LISTENING - JAZZ ARTISTS 1. TRUMPET - Nat Adderley, Louis Armstrong, Chet Baker, Terrance Blanchard, Lester, Bowie, Randy Brecker, Clifford Brown, Don Cherry, Buck Clayton, Johnny Coles, Miles Davis, Kevin Dean, Kenny Dorham, Dave Douglas, Harry Edison, Roy Eldridge, Art Farmer, Dizzy Gillespie, Bobby Hackett, Tim Hagans, Roy Hargrove, Phillip Harper,Tom Harrell, Eddie Henderson, Terumaso Hino, Freddie Hubbard, Ingrid Jensen, Thad Jones, Booker Little, Joe Magnarelli, John McNeil, Wynton Marsalis, John Marshall, Blue Mitchell, Lee Morgan, Fats Navarro, Nicholas Payton, Barry Ries, Wallace Roney, Jim Rotondi, Carl Saunders, Woody Shaw, Bobby Shew, John Swana, Clark Terry, Scott Wendholt, Kenny Wheeler 2. SOPRANO SAX - Sidney Bechet, Jane Ira Bloom, John Coltrane, Joe Farrell, Steve Grossman, Christine Jensen, David Liebman, Steve Lacy, Chris Potter, Wayne Shorter 3. ALTO SAX - Cannonball Adderley, Craig Bailey, Gary Bartz, Arthur Blythe, Richie Cole, Ornette Coleman, Steve Coleman, Paul Desmond, Eric Dolphy, Lou Donaldson, Paquito D’Rivera, Kenny Garrett, Herb Geller, Bunky Green, Jimmy Greene, Antonio Hart, John Jenkins, Christine Jensen, Eric Kloss, Lee Konitz, Charlie Mariano, Jackie McLean, Roscoe Mitchell, Frank Morgan, Lanny Morgan, Lennie Niehaus, Greg Osby, Charlie Parker, Art Pepper, Bud Shank, Steve Slagel, Jim Snidero, James Spaulding, Sonny Stitt, Bobby Watson, Steve Wilson, Phil Woods, John Zorn 4. TENOR SAX - George Adams, Eric Alexander, Gene Ammons, Bob Berg, Jerry Bergonzi, Don Braden, Michael Brecker, Gary Campbell,
    [Show full text]
  • George Garzone O C by Eric Nemeyer Pho T
    z z a J y d o Interview J f o y s e t r u o C o George Garzone t By Eric Nemeyer Pho JI: Give us a thumbnail sketch of the Triadic Chro- Dave Liebman and Jerry Bergonzi: “Go forward and matic Approach and how you developed the concept. don’t look back.” You and JodyJazz have created a DVD on this ap- proach which is now being released. JI: Tell us about your work with Mike Mainieri and the kinds of discussions you might have had dur- GG: ing your tenure in his band? of my listening to John Coltrane and studying his three tonic system - by using major triads as a means GG: to form a harmonic development. I took all four triads and worked them out in a way so that they all could be able he was about music - not just about the actual mu- played over any chord at any place of the harmony, sic, but also his understanding of the music business. JI: Could you talk about your long time associa- JI: Could you compare the leadership styles of some tion with bassist John Lockwood and drummer Bob of the artists with whom you have worked, and share some of the ideas you picked up or observations you veloped from years of teaching students and trying to “As the years went on we started to talk less and help them play outside of what they can already do. JI: Could you share a fragment of wisdom or quote from someone who has inspired you or from some- was the conversation of the band.” thing you’ve read or heard? GG: GG: made that made an impact on your approach? Mike My father, George Washington “Lucky” Gar- cause of the musical commitment between us - a Mainieri, Jack Dejohnette, Joe Lovano? zone, and my uncle, Rocco Spada, always said to me, “Never doubt yourself.” the band was pursued by chance ..
    [Show full text]
  • Musicians Line up : 2012 Dizzy Gillespie/Englewood Fund- Raiser
    MUSICIANS LINE UP : 2012 DIZZY GILLESPIE/ENGLEWOOD FUND- RAISER THE 2012 DIZZY GILLESPIE/ENGLEWOOD FUND-RAISER HOSTED BY CHRISTOPHER KENNEDY LAWFORD AND CHERYL WILLS TUESDAY OCTOBER 16, 2012 AT THE COTTON CLUB HARLEM 7:30 PM MUSICIANS LINE UP: SPECIAL OPENING BY GUITARIST DR. FRANCIS FORTE EMMY WINNER ALEX GARCIA AFRO MANTRA ALEX GARCÍA/Drums, musical direction & compositions Chilean-born, Cuban-raised, Emmy Winner 2011, drummer & composer Alejandro Garcia, studied classical and contemporary Afro-Cuban and jazz percussion at Cuba's Ignacio Cervantes School of Music under the direction of Irakere's drummer Enrique Plá. Capable of incorporating Afro-Cuban and Latin-American rhythms into the Jazz idiom, Alex has also worked in a variety of musical genres from Pop to Rock, Theatre to Jazz. Along with his performances as a leader with his band AfroMantra, Alex has shared the stage with important bands and artists in the New York’s Latin-Jazz Scene. Major performance, recording and composition accomplishments include Cuban trombonist and composer, Juan Pablo Torres also Grammy nominee singer song writer Juan Carlos Formell, Alex Foster (Jaco Pastorius, Steps Ahead), Tony Cimorosi, Frank Colón (Weather Report, Manhattan Transfer, Wayne Shorter), Omar Hakim (Sting, Madonna, Weather Report), Victor Bailey (Madonna, Weather Report), Rachel Z (Steps Ahead), Marcus Miller (Miles Davis), Najee, Oriente Lopez. Steve Kroon (Ron Carter), Chris Washburn & Syotos, Meme Solis, Israel Kantor (Los Van Van), Charles Flores (Michel Camilo, Issac Delagado), Tony Perez (Klimax), Malena Burke, Alfredo De La Fé (Fannia All Stars) among many others. Alex also has worked with several theater companies, among them, Pregones Theater and Making Books Sing.
    [Show full text]
  • Dor Herskovits Flying Elephants Press Release
    FOR IMMEDIATE RELEASE: Drummer/Composer DOR HERSKOVITS Presents FLYING ELEPHANTS (Available September 20, 2019 on Endectomorph Music) Featuring: Hery Paz – saxophones, Caio Afiune – guitar, Isaac Wilson – piano, Max Ridley – bass, Dor Herskovits – drums “A quick comment on Herskovits- you’d better like drums, because he’ll put lots of prints on your ears” - Bob Protzman, DownBeat Magazine "Drummer Dor Herskovits literally shines through the set, with brilliant use of cymbals, razor-sharp trap work, and kaleidoscope solos . .” - Steve Elman (WBUR) “A Herskovits drum solo . is like a jeweled centerpiece to this intriguing collaboration” - Ralph A Miriello, Notes On Jazz The prolific Israeli-born, Boston-based, drummer/composer Dor Herskovits’ new album, Flying Elephants, available September 20, 2019, is chock-a-block with expressions of love, humor and creativity. Like most great works of art, music, dance, architecture, etc., the music on Flying Elephants began as just a seed of an idea in the brain of Herskovits, which was then transferred to notes engraved on paper. It came to exist in the material world, and then took on a life and uniqueness of its own once Herskovits’ band mates got a hold of the music and ran it through their minds, bodies and ultimately their instruments. The result is a resplendent suite of music, played by what is in essence a “family”, a band that Herskovits calls his “dream team”; Hery Paz – saxophones, Caio Afiune – guitar, Isaac Wilson – piano, Max Ridley – bass, and Dor Herskovits – drums and compositions. Flying Elephants was conceived of with these specific musicians in mind – in fact, choosing this cast was the very first step the leader took.
    [Show full text]