3D Jazz Trio Bio 2020

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The 3D Jazz Trio Fiercely swinging on purpose, with purpose this powerhouse trio plays original, traditional and contemporary standards from all genres of music. Their unique style and innovative arrangements are always super-charged by their boundless musical joy and gratitude. Sherrie, Amy, and Jackie met in May of 2014 at the Cleveland Playhouse while playing in The DIVA Jazz Orchestra as part of Maurice Hines’ award-winning show Tappin’ Thru Life. From their first shared downbeat, they became kindred-swinging spirits and the resulting musical synergy was fast and fierce...or as the New York Times said…"Blistering Hot!" The show received the 2016 Audelco Awards’ Musical Production of the Year. Since its inception, 3D has performed at many of the world’s most prestigious venues and festivals, including: The Blue Note (NYC) Dizzy’s Club (NYC), Mezzrow (NYC), Lincoln Center Out-of-Doors (NYC), The Jazz Kitchen (Indianapolis, IN), Blues Alley (D.C.), Tri-C Jazz Festival (Clvd, OH), and The Deer Head Inn (DWG, PA), and are scheduled to play at the Rochester International Jazz Festival (Rochester, NY), The Gilmore International Keyboard Festival (Kalamazoo, MI), and the Festival Internacional de Música La Guarapachanga (Pinar del Rio, Cuba). They were featured on The Kate TV’s “live” music series with Maurice Hines (PBS) and three times on WVIA radio’s Homegrown Music Series. Jackie, Amy and Sherrie are also experienced and enthusiastic educators. In 2019 the group received a rousing standing ovation as they headlined the opening performance at Jazz Educator’s Network Conference in Reno, NV. They were recently guest soloists with the Binghamton University Jazz ensemble (NY); and they’ve presented workshops and clinics at numerous universities, colleges, and high schools throughout the country. In summer 2020 they will serve as artists-in-residence for the second time at Maryland Summer Jazz in Rockville, MD. 3D’s most recent recording, I Love To See You Smile, was recorded in January 2020 at Red Rock Recording Studio. The band’s self-entitled CD was released in 2016 and recorded “live” at WVIA Radio. Look for their upcoming release, Holiday in 3D, in November 2020. Connect with the 3D Jazz Trio on their website and all other social media. 3D Highlights: Jackie Warren: Cleveland Jazz Legend Award Winner. Sought After Guest Soloist. Revered Educator at Tri-C College. Amy Shook: Critically Acclaimed Jazz Bassist. Clinician and Guest Artist. Multi-instrumentalist and composer. Sherrie Maricle: Kennedy Center - Mary Lou Williams Lifetime Achievement Award Winner. Ovation Award for Best Music Direction. Two-time New York University Music Department Teacher of the Year. Each member of 3D is a Crazy Cat Lady..

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OUTSTANDING PERFORMANCES in the 2019-2020 Season
OUTSTANDING PERFORMANCES in the 2019-2020 Season Pioneers in the use of four-hands Hot Club of Cowtown All Concerts will jazz piano playing Violin, Guitar, Bass be presented at the classics from the Tuesday, October 1, 2019 stride piano Union Mine High School ragtime, Austin-based western swing and jazz trio brings even Theatre boogie-woogie the tamest audience to its feet with down-home repertoires and melodies and exuberant improvisation. 6530 Koki Lane, swing era. El Dorado, CA 7:00 p.m. Stephanie Trick & Paolo Alderighi Piano Wednesday, February 12, 2020 Membership Prices: (for the complete series) Adult membership $70.00 Student membership $20.00 Since forming in Family membership $160.00 2010, Neave Trio (two adults & two K-12 children) has earned enormous praise for its engaging, Quartetto Gelato cutting-edge Accordion, Cello, Oboe, Violin performances. Wednesday, November 13, 2019 Visit our website Classical in training, eclectic by design, Quartetto Gelato thrills audiences with its instrument for more information mastery and brilliant operatic tenor. and Neave Trio Membership Application Form Cello, Piano, Violin www.ElDoradoCommunityConcerts.com Tuesday, March 10, 2020 Phone: 530-556-9498 Programs and dates subject to change. Please refer to September Seraph Brass Membership card mailing. French Horn, Trombone, Trumpet, Tuba Tuesday, January 28, 2020 Chaconne Klaverenga All female brass ensemble presenting a diverse Classical Guitar repertoire including original transcriptions, Wednesday, April 15, 2020 newly commissioned works, and well-known classics. Hailed as "simply flawless," Chaconne has technique to spare, virtuosity and an amazing amount of experience as a young performer..
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The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 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]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.
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Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne
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June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
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Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins.
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DWC 2020 Finals - Monday 09 August 2021 - Live
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Summer 2007 X
BARGEMUSIC Unique floating concert hall— in residence to the community at large all year long. Summer 2007 X “It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall… ” —Allan Kozinn, The New York Times “Bargemusic—New York’s favorite floating concert hall.” —Anne Midgette, The New York Times w www.bargemusic.org [email protected] 718.624.2083 718.624.4061 Fulton Ferry Landing, Brooklyn w Reservations W Call: 718.624.2083 in the office or 718.624.4061 on the Barge. Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Regular: $35 / Enhanced: $40 Seniors: $30 (Wednesdays, Thursdays and Fridays) / Full-time Students: $20 Special concerts as listed, for everyone. Purchase tickets at the concert by cash or check only, please. Ask about group sales. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at 718.624.2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned. If you have already paid by check or credit card, you may donate your tickets for a tax deduction. We are not able to refund payments. w Directions W Bargemusic is in Brooklyn on the Fulton Ferry Landing near the Brooklyn Bridge By Subway: From Manhattan, ride in the rear of the A train to High Street station in Brooklyn. (From Brooklyn, ride in the front of the train). Use the FULTON STREET EXIT. Walk downhill on Cadman Plaza West to the East River, 3 blocks.
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Feeding an Addiction
MONTAGE one who had the chops and emotional OPEN BOOK As commissioner of connection to the music. Malcolm never the U.S. Food and Drug ceased to amaze me. Each time was a com- Administration, David A. pletely diff erent experience and he never Feeding an Kessler, M.D. ’77, sought turned his ear away from what I was sing- to regulate tobacco. ing, which made some really powerful His new passion is the music.” Campbell agrees, noting that in Addiction interaction of appetite jazz, “Your energy level is inﬂuenced by and food marketing in the person [soloist] who came before the current obesity epidemic. This excerpt comes from his recent book, The End of you.” Overeating: Taking Control of the Insatiable American Appetite (Rodale, $25.95). He draws on a classical-music anal- ogy to explain that “a jazz trio, quartet, ot long ago I flew to London the brain is wired to focus on the most or quintet is like a small chamber group, to talk with top executives of salient stimuli. “The more potent and and I’m enjoying the kind of interaction None of the world’s largest global multisensory you make your products, you get.” Even so, “I’ve never heard a clas- food companies. They were taking a the greater the reward and the greater sical pianist who sounded good in jazz,” beating from the British press about the the consumption,” I said bluntly. he says. “With jazz, the rhythm is so im- industry’s role in the obesity epidemic. By way of analogy, I described the portant—getting it into your soul.
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For Additional Information Contact the Archives Center at 202.633.3270 Or
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. HANK JONES NEA Jazz Master (1989) Interviewee: Hank Jones (July 31, 1918 – May 16, 2010) Interviewer: Bill Brower Date: November 26-27, 2004 Repository: Archives Center, National Museum of American History Description: Transcript, pp. 134 Hank Jones: I was over there for about two and a half weeks doing a promotional tour. I had done a couple of CDs; one was with my brother Elvin and Richard Davis, the bass player. They made – – I think they made two releases from that date. And I did another date with Jack DeJohnette and John Patitucci. But, these two albums were the objects of the promotion. I mean, they promote very, very heavily everyday. I must have had 40 interviews and about 30 record signings at the record shops, plus all of the recording. We did seven concerts and people inevitably want the records, CDs of the concert for us to sign. I have a trio over there, with Jimmy Cobb and John Fink. It was called, “The Great Jazz Trio.” It was not my name, but the Japanese have special names for everything, you know? That's only one in a series of tree others which he called the great jazz trio. The first one was Ron Carter, Tony Williams and myself. But, there had been a succession of different changes in personnel. It changed about six times. The current one was Jimmy Cobb and Dave Fink--Oh, the cookies have arrived and not a minute too soon.
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Past Performances
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August 31, 2020 Jazz Album Chart
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Jazz Jams at the Judge's Bench in Ellicott City
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