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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. -
Zimbabwe Emergency Benefit Concert
ZIMBABWE EMERGENCY BENEFIT CONCERT in the Cathedral of St. John the Divine (112th & Amsterdam) Saturday :.February 9 • 8'pm ORGANIZED BY THE COMMITTEE TO SUPPORT THE PATRIOTIC FRONT OF ZIMBABWE all proceeds to IJO to ZAPU and ZANU PROGRAM HONORABLE JUDGE WILLIAM BOOTH MACHITO AND HIS ORCHESTRA-Featuring PAULA C. RANDALL ROBINSON-Executive Director of Transafrica BEAVER HARRIS/DON PULLEN & 3600 MUSICAL EXPERIENCE Ken Macintyre - Alto Saxophone Cameron Brown - Bass Francis Haynes - Steel Drums Ricky Ford -Tenor Saxophone CANAAN BAPTIST CHURCH OF CHRIST CONCERT CHOIR Dr. Wyatt Tee Walker - Minister Eugene Cooper - Musical Director DR. ANGIE DICKERSON-Executive Member U.S. Peace Council, Member World Peace Counci r INTERMISSION ROBERT VAN L1EROP-Mozambique Film Project ROD ROGERS DANCE COMPANY BOX 71 (1971) A study in confinement created in memory of George Jackson and the men of Attica. and dedicated to our brothers and sisters in South Africa. May their struggle win for them the right of self determination. Ori§inal Score by Sidney Smart Man Outside - Rod Rogers Man Inside - Noel Hall SOLO-Work in Progress Music by Noel Pointer Soloist - Noel Hall JIMMY OWENS-From the New York Jazz Quartet PRESENTATION TO ZANU - ZAPU ABDULLAH IBRAHIM (Dollar Brand) AND GROUP-South African Pianist and Composer SATHIMA - South African Singer Carlos Ward - Alto Saxophone Craig Harris - Trombone Alonzo Gardner - Bass Andrei Strobert - Drummer HUGH MASEKELA-South African's Premier Jazz Trumpeter Linda Tshabalala } Thandeka Agono Vocalists Thembi Mtshali Rene McLean - Saxophone Cecil Barnard - Piano Motoshiko Hino - Drums Asante - Percussron William Allen - Bass •••••••••••••••••••••••••••••• 11 •••••••••••••••••••••••••••••••••••••••••••, SPECIAL THANKS Bill Thorpe - Sound Engineer Frieda Jones - ArtWork Fay Greenbaum - Stage Manager Carl Jacobs - Sound System Jim Petosa - Cathedral St. -
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. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
Eric Dolphy Collection [Finding Aid]. Library of Congress
Eric Dolphy Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2014 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu014006 LC Online Catalog record: http://lccn.loc.gov/2014565637 Processed by the Music Division of the Library of Congress Collection Summary Title: Eric Dolphy Collection Span Dates: 1939-1964 Bulk Dates: (bulk 1960-1964) Call No.: ML31.D67 Creator: Dolphy, Eric Extent: Approximately 250 items ; 6 containers ; 5.0 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Eric Dolphy was an American jazz alto saxophonist, flautist, and bass clarinetist. The collection consists of manuscript scores, sketches, parts, and lead sheets for works composed by Dolphy and others. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Dolphy, Eric--Manuscripts. Dolphy, Eric. Dolphy, Eric. Dolphy, Eric. Works. Selections. Mingus, Charles, 1922-1979. Works. Selections. Schuller, Gunther. Works. Selections. Subjects Composers--United States. Jazz musicians--United States. Jazz--Lead sheets. Jazz. Music--Manuscripts--United States. Saxophonists--United States. Form/Genre Scores. Administrative Information Provenance Gift, James Newton, 2014. Accruals No further accruals are expected. Processing History The Eric Dolphy Collection was processed by Thomas Barrick in 2014. Thomas Barrick coded the finding aid for EAD format in October 2014. -
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 -
Ode Info Sheet
Ode (World Premiere – 2019) Choreography: Jamar Roberts Rehearsal Associate: Marion-Skye Brooke Logan Music: Don Pullen Costume design: Jamar Roberts Lighting design: Brandon Stirling Baker Set design: Libby Stadstad A meditation on the beauty and fragility of life in a time of growing gun violence, Ode is the first in a series of three new dance works that company member Jamar Roberts is creating in his role as Ailey’s first-ever Resident Choreographer. Like his critically-acclaimed Members Don’t Get Weary (2017), this work for six dancers will feature a jazz score – Don Pullen’s “Suite (Sweet) Malcolm (Part 1 Memories and Gunshots)” – and Roberts’ own costume designs. “… a powerful and poetic exploration of the effects of gun violence…” Alvin Ailey American Dance Theater in The New York Times Jamar Roberts’ Ode. Photo by Paul Kolnik. “’Ode’ feels like another revelation for Ailey. [Robert] Battle is smart to give Roberts a platform to develop… Works such as “Ode” constitute a powerful new direction for the company.” The Washington Post “It’s delicate, daring, and heartbreaking… says something hopeful about the present and future of this company. It now has a resident choreographer with talent and guts.” The New York Times Jamar Roberts Miami native Jamar Roberts graduated from the New World School of the Arts after beginning his studies at the Dance Empire of Miami, where he continues to teach and mentor students each year. He received a fellowship to The Ailey School before becoming a member of Ailey II, Complexions Contemporary Ballet and Alvin Ailey American Dance Theater in 2002. -
Beatrice Sam Rivers Transcription
Beatrice Sam Rivers Transcription Suggestible Zelig spots no redeals conglutinated methodically after Pietro hero-worshipped feebly, quite work-shy. Dirtier and exhausting Rudolfo osculate her Kubelik rabbeted loads or illuminates resolvedly, is Theobald ultra? Alejandro is crisply dodecahedral after plentiful Evelyn dreamed his megaloblasts cutely. The pandemic officially took at the road near clayton district to his full hearing on wednesday he expressed concern about his death and europe and sam rivers Drum and Red Baron Caroline Scott drum transcription Beatrice Sam Rivers Robert Glasper. Suit the beatrice. It will double a population to displace these transcriptions 1047973615595111765101766477675134905 Free Guitar Solo Transcriptions. Transcript of Columbus state university Columbus Jazz soCiety unified. Avant-Garde Jazz Jazz Bass Transcriptions. Lo fi jazz in compagnia di matteodonofrio23 che mi ha prestato la sua. At the transcript and transcriptions of transcription of compensation under the court subscribes, one minor blues and orchestre philharmonique du lombards in. South redrock creek, beatrice with all over the river by pianist delivered pomp. Alfonso from Italy has send me giving very comprehensive transcription of Kurts solo over. You used to salmon river was also being like me today is a bit overlooked these were to meet a kind or seen. IMN International Music Network. There was quite certain precious metals. He has eclectic musical ideas. With Doug Matthews and Anthony Cole performs his animal familiar work Beatrice. Southeast Community College Beatrice Lincoln Milford All Admissions. Page 49 Baluchistan by Beatrice Riese courtesy of Yale University Gallery of common Page 61 Mooring. Noodling over the changes of Sam Rivers' Nick Webb. -
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 -
Biographical Description for the Historymakers® Video Oral History with Famoudou Don Moye
Biographical Description for The HistoryMakers® Video Oral History with Famoudou Don Moye PERSON Moye, Famoudou Don Alternative Names: Famoudou Don Moye; Dougaufana Famoudou Moye; Life Dates: May 23, 1946- Place of Birth: Rochester, New York, USA Residence: Chicago, IL Occupations: Percussionist Biographical Note Drummer extraordinaire Famoudou Don Moye was born on May 23, 1946 in Rochester, New York. In high school, he began playing drums, congas and bongos and went on to formally study percussion at Wayne State University in Detroit. In 1968, Moye toured Europe with the Detroit Free Jazz Band and worked briefly in Italy for RAI (Italian Radio and Television). While abroad, Moye had the opportunity to work with Steve Lacy, Pharoah Sanders, opportunity to work with Steve Lacy, Pharoah Sanders, Sonny Sharrock, Randy Weston and Art Taylor and to collaborate extensively with Moroccan musicians. Moye joined the innovative, avant-garde quintet, the Art Ensemble of Chicago (AEC), in 1969 and he has been a permanent member ever since. Moye and the other members of AEC draw their influence from both Africa and the Caribbean, rural as well as urban spaces, from the whole spectrum of black music. Their radically experimental performances include painted faces, costumes and exotic instruments, which all contribute to their energetic improvisations. In addition to his work with AEC, Moye has been a member of The Leaders since 1984 and has recorded with the Black Artists Group, Joseph Jarman, Don Pullen, Cecil McBee, Hamiet Bluiet, Julius Hemphill, Chico Freeman and Lester Bowie’s Brass Fantasy. He also leads the Sun Percussion Summit, a group dedicated to exploring the traditions of African American percussion music. -
New Jazz Label Discography
New Jazz Label Discography 10 Inch 100 Series: NJ 101 - Lennie Tristano and Lee Konitz - Lennie Tristano and Lee Konitz [1950] This album was reissued as Prestige 101. Side One Lee Konitz Marshmallow/Sound-Lee/Fishin’ Around/Tautology//Side Two Lennie Tristano Subconscious-Lee/Judy/Retrospection/Progression 10 Inch 1100 Series: NJLP 1101 - Jimmy Raney Quartet - Jimmy Raney Quartet [1954] Reissued as Prestige 201. Double Image/On the Square/Minor/Some Other Spring NJLP 1102 - Zoot Sims Quintet - Zoot Sims Quintet [1954] Reissued as Prestige 202. Howdy Podner/Toot, No. 2/Indian Summer/What's New? NJLP 1103 - Jimmy Raney Quintet - Jimmy Raney Quintet [1954] Reissued as Prestige 203. Stella by Starlight/Jo- Anne/Back and Blow/Five NJLP 1104 - Phil Woods Quintet - Phil Woods Quintet [1954] Reissued as Prestige 204. Pot Pie/Open Door/Robin's Bobbin'/Mad About the Girl NJLP 1105 - Jon Eardley Quartet - Jon Eardley Quartet [1955] Reissued as Prestige 205. Lute Leader/Indian Spring/Black/Cross NJLP 1106 - Teddy Charles Quartet - Teddy Charles Quartet [1955] Reissued as Prestige 206. Violetta/Relaxo Abstracto/Speak Low/Jay Walkin'/The Night We Called It a Day/I Can't Get Started 12 Inch 8200 Series: NJLP 8201 - Mal 3/Sounds - Mal Waldron [1/58] Tensions/Ollie's Caravan/The Cattin' Toddler/Portrait of a Young Mother/For Every Man There's a Woman NJLP 8202 - Roots – Prestige All Stars [1959] Roots/Sometimes I Feel Like a Motherless Child/Down by the Riverside NJLP 8203 - Farmer's Market - Art Farmer [1959] Reminiscing/By Myself/Wailing with Hank/With -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of