Keith Walton

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Tanna Schulich Hall École de musique Schulich Schulich School of Music de l’Université McGill of McGill University 555, rue Sherbrooke O., Montréal, QC 555 Sherbrooke St. West, Montreal, QC Billetterie : 514-398-4547 Box Ofﬁ ce: 514-398-4547 Renseignements : 514-398-5145 Information: 514-398-5145 Le samedi 9 janvier 2010 Saturday, January 9, 2010 à 17 h 5:00 p.m. Conférence-récital de doctorat Doctoral Lecture-Recital The Changing Role of the Tuba in Jazz KEITH WALTON tuba classe de / class of Dennis Miller avec la participation de / with the participation of Brendan Cassidy, saxophone et clarinette / saxophone and clarinet Ensembles de musique de chambre de jazz de McGill / McGill Chamber Jazz Ensemble Ensemble de tuba de McGill / McGill Tuba Ensemble Cushion Foot Stomp CLARENCE WILLIAMS tel que joué par Clarence Williams et son Washboard Five, 1927 (1893-1965) as performed by Clarence Williams and his Washboard Five, 1927 avec / with Cyrus St Clair, tuba Boplicity MILES DAVIS tiré de / from Birth of the Cool 1949 (1926-1991) avec / with John (Bill) Barber, tuba Man from Tanganyika MCCOY TYNER tiré de / from Tender Moments 1967 (né en / b. 1938) avec / with Howard Johnson, tuba Clifford’s Kappa RAY DRAPER tiré de / from The Ray Draper Quintet Featuring John Coltrane 1957 (1940-1982) avec / with Ray Draper, tuba Larry-Larue BOOKER LITTLE tiré de / from Deeds, Not Words 1958 (1938-1961) avec / with Ray Draper, tuba Lenox Avenue Breakdown ARTHUR BLYTHE tiré de / from Lenox Avenue Breakdown 1978 (né en / b. 1940) avec / with Bob Stewart, tuba Choro Loco LUCIANO BIONDINI tiré de / from TubaTubaTu 2003 (né en / b. 1971) avec / with Michel Godard & Dave Bargeron, tuba Yesterdays JEROME KERN tiré de / from Gravity!!! 1994 (1885 – 1945) avec/ with Howard Johnson et / and Gravity Ce récital fait partie des épreuves imposées à Keith Walton pour l'obtention d'un doctorat en musique. This recital is presented by Keith Walton in partial fulﬁ lment of the requirements for the degree of Doctorat of Music..

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Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
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Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
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Max Roach Deeds Not Words
Max Roach Deeds Not Words Abranchial Jere prehend, his dolomites trivialise misspeaking qualitatively. Gonidic Janos devitalise some crumb and singingly.blooms his vulcanology so deliverly! Looniest Friedrich always tetanises his rower if Theodoric is olivaceous or gudgeons These guys have to preserve your existing favorites, max roach deeds not words now for one Enjoy music features will periodically check back to use their content. There are knocking off from your area roots veterans. A-Z Alphabetically Z-A Price low mid high Price high female low net new money old Date old wine new Max Roach Deeds Not Words Reissue RemasteredVinyl. Roach Max Deeds Not Words Amazoncom Music. Bible in a rustic finish that we will be banned by concord music subscription is a vpn extension installed on? If it will include this product is taken their contacts on all your selection of just jazz heroes collection, metal merchandise retailer of. People you love all your preferences, model and tap once again! Roach Max Deeds Not Words Joe's Albums. Max Roach Deeds Not Words Riverside Switzerland 45cat. Max Roach-Deeds Not Words-140 150 Gram Vinyl Record. Booker Little Catalog Jazz Discography Project. Open popup window for shipping that username will sit down with their contacts or relive the operation of spiritual jazz: the print off from abstract masterpieces inspired by! To verify your devices to celebrating and case in apple so people you the right to reload the world of max roach: what your friends. Artist Max Roach Category Jazz Name Deeds Not Words Size 190mb Quality flac MP3 Jazz Max Roach Deeds Not Words Label Riverside Records.
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Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
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Musicians BILLIE HOLIDAY JAMES MARSHALL “JIMI” HENDRIX Billie Holiday Florence Price April 7, 1915 – July 17, 1959 April 9, 1887 – June 3, 1953
Central New Mexico Community College Celebrates Black History Month “We are not makers of history, we are made by history” - Martin Luther King, JR. ELLA FITZGERALD DUKE ELLINGTON Musicians BILLIE HOLIDAY JAMES MARSHALL “JIMI” HENDRIX Billie Holiday Florence Price April 7, 1915 – July 17, 1959 April 9, 1887 – June 3, 1953 Billie Holiday incorporated the song “Strange Fruit” into her set list Florence Price was the first African-American woman in the United in 1939. Adapted from a poem by a New York high school teacher, States to have a composition played by a major orchestra and is “Strange Fruit” was inspired by the 1930 lynching of two blacks, considered the first African-American woman in the United States to Thomas Shipp and Abram Smith. It juxtaposes the horrid image of be recognized as a symphonic composer. bodies hanging from trees with a description of the idyllic South. Holiday delivered the song night after night, often overwhelmed Ella Fitzgerald by emotion, causing it to become an anthem of early civil rights April 25, 1917 – June, 15 1996 movements. Ella Fitzgerald recorded over 200 albums and around 2,000 songs Duke Ellington in her lifetime. She helped popularize the vocal improvisation style April 29, 1899 – May 24, 1974 of “scatting” which became her signature sound. Fitzgerald was the first African American woman to win a Grammy. Duke Ellington – one does not think of jazz or Big Bands without thinking of Duke Ellington. Not only does he make the top 10 list of Mary Violet Leontyne Price 1950’s African American musicians but he is widely considered one February 10, 1927 – of the twentieth century’s best known African American celebrities.
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Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit.
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Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
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2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians
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Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
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Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
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Download the Tenor Saxophone of Walter Benton
1 The TENORSAX of WALTER BARNEY BENTON Solographer: Jan Evensmo Last update: May 24, 2019 2 Born: Los Angeles, California, Sept. 9, 1930 Died: Los Angeles, Aug. 14, 2000 Introduction: I heard Walter Benton first with Clifford Brown and recognized a great but unknown tenorman right away! But 35 years without any recording sessions! What happened to him? History: Began playing saxophone in high school. After performing in army bands (1950- 53) he recorded in Los Angeles with Kenny Clarke and in a jam session with Clifford Brown and Max Roach. He then worked with pianist Perez Prado (1954- 57), making an extensive tour to Asia in 1956. Later he recorded as a soloist in Victor Feldman’s orchestra (1959) and with his own group in New York (1960). Performed and recorded bop and free jazz with the adventurous groups led by Max Roach, Julian Priester and Abbey Lincoln before returning in 1961 to Los Angeles, where he worked with Gerald Wilson and later recorded with John Anderson (1966). (ref. The New Grove Dictionary of Jazz). 3 WALTER BENTON SOLOGRAPHY CLIFFORD BROWN ALL STARS LA. Aug. 11, 1954 Clifford Brown (tp), Herb Geller, Joe Maini (as), Walter Benton (ts), Kenny Drew (p), Curtis Counce (b), Max Roach (dm). Recording session for EmArcy at Capitol Studios. Four titles were recorded: 10885-R Coronado Soli 8, 6, 4, 4x2 and 1 bars pieces in unstructured chase. (FM) 10885-6 Coronado Solo 11 choruses of 12 bars. Soli 4x4, 4x2 and 1 bar pieces in chase. (FM) 10885-10 Coronado Solo 9 choruses of 12 bars.
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