Proyecto Fin De Carrera Ingeniería Industrial Modelado Y Recreación

Total Page:16

File Type:pdf, Size:1020Kb

Proyecto Fin De Carrera Ingeniería Industrial Modelado Y Recreación Proyecto Fin de Carrera Ingeniería Industrial Modelado y Recreación Virtual con Catia v5 de un Clarinete en Si Bemol Autor: Rafael Reinoso Sánchez Tutor: Francisco A. Valderrama Gual Equation Chapter 1 Section 1 Departamento de Ingeniería Gráfica Escuela Técnica Superior de Ingeniería Universidad de Sevilla Sevilla, 2017 MODELADO Y RECREACIÓN VIRTUAL CON CATIA V5 DE UN CLARINETE EN SI BEMOL RAFAEL REINOSO SÁNCHEZ Proyecto Fin de Carrera Ingeniería Industrial Modelado y Recreación Virtual con Catia v5 de un Clarinete en Si Bemol Autor: Rafael Reinoso Sánchez Tutor: Francisco A. Valderrama Gual Profesor titular Departamento de Ingeniería Gráfica Escuela Técnica Superior de Ingeniería Universidad de Sevilla Sevilla, 2017 Proyecto Fin de Carrera: Modelado y Recreación Virtual con Catia v5 de un Clarinete en Si Bemol Autor: Rafael Reinoso Sánchez Tutor: Francisco A. Valderrama Gual El tribunal nombrado para juzgar el Proyecto arriba indicado, compuesto por los siguientes miembros: Presidente: Vocales: Secretario: Acuerdan otorgarle la calificación de: Sevilla, 2017 El Secretario del Tribunal ÍNDICE 1. Introducción .............................................................................................................................. 9 2. Herramienta CAD: Catia v5R19 ............................................................................................... 11 2.1. Catia v5R19 ............................................................................................................................................. 13 3. El Clarinete en Si Bemol ........................................................................................................... 15 3.1. Antecedentes y Desarrollo del Clarinete ................................................................................................ 17 3.2. Primeras apariciones. El clarinete en la orquesta ................................................................................. 21 3.3. El clarinete en los principales periodos musicales ................................................................................. 23 3.3.1. Clasicismo ....................................................................................................................................... 23 3.3.2. Romanticismo ................................................................................................................................. 27 3.3.3. Impresionismo ................................................................................................................................ 28 3.3.4. Neoclasicismo ................................................................................................................................. 29 3.3.5. Dodecafonismo ............................................................................................................................... 30 3.4. El clarinete en la música de cámara ...................................................................................................... 31 3.5. El clarinete en el jazz .............................................................................................................................. 32 3.6. El clarinete en la música contemporánea .............................................................................................. 35 3.7. Construcción y mantenimiento del clarinete ......................................................................................... 36 3.8. Familia del clarinete: otras tonalidades ................................................................................................. 37 4. Modelado en Catia .................................................................................................................. 40 4.1. Barrilete .................................................................................................................................................. 43 4.2. Campana ................................................................................................................................................ 48 4.3. Boquilla ................................................................................................................................................... 51 4.4. Cuerpo superior ...................................................................................................................................... 56 4.4.1. Cuerpo ............................................................................................................................................. 58 4.4.2. Piezas de apoyo .............................................................................................................................. 60 4.4.3. Anilla trasera ................................................................................................................................... 62 4.4.4. Anilla superior delantera ................................................................................................................ 64 4.4.5. Anilla inferior delantera .................................................................................................................. 66 4.4.6. Llave 12 ........................................................................................................................................... 68 4.4.7. Llave 7 ............................................................................................................................................. 70 4.4.8. Llave 8 ............................................................................................................................................. 72 4.4.9. Llave 10bis ....................................................................................................................................... 73 4.4.10. Llave 11 ........................................................................................................................................... 74 4.4.11. Llave 7 bis ........................................................................................................................................ 76 4.4.12. Llave 10 ........................................................................................................................................... 78 4.4.13. Llave 9 ............................................................................................................................................. 80 4.4.14. Llave 6 ............................................................................................................................................. 82 4.5. Cuerpo inferior ........................................................................................................................................ 84 4.5.1. Cuerpo ............................................................................................................................................. 86 4.5.2. Piezas de apoyo .............................................................................................................................. 88 4.5.3. Anillas .............................................................................................................................................. 90 4.5.4. Llave C ............................................................................................................................................. 93 MODELADO Y RECREACIÓN VIRTUAL CON CATIA V5 DE UN CLARINETE EN SI BEMOL RAFAEL REINOSO SÁNCHEZ 4.5.5. Llave 4 ............................................................................................................................................. 95 4.5.6. Llave 5 ............................................................................................................................................. 97 4.5.7. Llave B ............................................................................................................................................. 98 4.5.8. Llave A ........................................................................................................................................... 100 4.5.9. Llave 3 ........................................................................................................................................... 102 4.5.10. Llave 1 ........................................................................................................................................... 104 4.5.11. Llave 2 ........................................................................................................................................... 105 4.5.12. Llave 18 ......................................................................................................................................... 106 4.6. Otras piezas auxiliares .......................................................................................................................... 107 5. Conclusiones ......................................................................................................................... 109 6. Bibliografía ............................................................................................................................ 110 7. Índice de figuras .................................................................................................................... 112 MODELADO Y RECREACIÓN VIRTUAL DE UN CLARINETE EN SI BEMOL RAFAEL REINOSO SÁNCHEZ 8 1. INTRODUCCIÓN En el presente trabajo se ha realizado el modelado y recreación virtual de un clarinete, más concretamente en la tonalidad de “Si Bemol”.
Recommended publications
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • In 191^B Played His First Professional Job. He Bought a Sax on August 3/ and Played His First Job on September 3
    PAUL BARNES 1 Reel I [of 2]--Digest-Retype June 16, 1969 Also present; Barry Martyn, Lars Edegran/ Richard B. Alien Paul Daniel Barnes, whose professional name is "Polo" Barnes/ was born November 22, 1903., in New Orleans/ Louisiana. When he was six years old, he started playing a ten cent [tin] fife. This kind of fife was popular in New Orleans. George Lewis, [Emil-e] Barnes and Sidney ^. Bechet and many others also started on the fife. In 191^B played his first professional job. He bought a sax on August 3/ and played his first job on September 3. He had a foundation from playing the fife. As a kid, he played Emile Barnes' clarinet. There were few Boehm system clarinetists then. 'PB now plays a Boehm. Around 1920 PB started playing a Boehm system clarinet, but he couldn't get the hang of it/ so he went back to the sax/ which he played until he got with big bands. He took solos on the soprano sax [and later alto sax], but not on the clarinet. He is largely self-taught. He tooT< three or four saxophone lessons from Lorenzo Tie [Jr.]. Tio was always high. PB learned clarinet from Emile Barnes. PB wanted to play like Sidney Bechet, but he couldn't get the tone. PB played tenor sax around New York/ baritone sa^( [and still occasionally alto]. [Today PB is still playing clarinet almost exclusively--RBA, June 7, 1971<] His first organized band was PB's and Lawrence Marrero's Original Diamond Orchestra. It had Bush Hall, tp/ replaced by Red Alien; Cie Frazier [d]; Lawrence [Marrero] / [bj?].
    [Show full text]
  • Press Release
    Press Release The Ted Lewis Orchestra brings back the music of the “High-Hatted Tragedian of Song” with Joseph Rubin and his entertainers in The Rhythm Rhapsody Revue! Relive Ted Lewis’ famous hits, “When My Baby Smiles at Me,” “The St. Louis Blues,” “ The Sunny Side of the Street,” “The Tiger Rag,” “Medicine Man for the Blues,” and of course, “Me and My Shadow,” all in their original arrangements! With his trademark battered old top hat and his immortal catchphrase "Is Everybody Happy?" Ted Lewis captured the hearts of audiences for five decades. Unrivaled in popularity in the 1920s, 30s and 40s, Lewis drew standing room only houses wherever he played, breaking attendance records and drawing more people than Glenn Miller and Tommy Dorsey. Joseph Rubin, Director of the Ted Lewis Orchestra says, “We are very excited to bring the Ted Lewis Orchestra back on the road after a hiatus of 40 years!” Mr. Rubin notes that The Rhythm Rhapsody Revue is unique in big band entertainment, “we have not just a swinging band, but also a cast of extraordinary dancers, singers and entertainers, exactly like Ted had at the height of his popularity.” A consummate showman, Ted Lewis always surrounded himself with the tops in talent (Benny Goodman, Tommy and Jimmy Dorsey all got their start with Ted) and The Rhythm Rhapsody Revue continues that legacy. The Ted Lewis Orchestra deftly recreates Ted's touring stage revues, featuring a female singing trio, a dancer extraordinaire, Ted's famous shadow, a 13-piece orchestra and Joseph Rubin as Ted Lewis.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson 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 Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Paul Keller Biography – One Page
    PAUL KELLER BIOGRAPHY – ONE PAGE 125 W. Willis Rd Saline, MI 48176 734-316-2665 [email protected] Since 1989, string bassist Paul Keller has led his 15-piece big band Paul Keller Orchestra to critical and popular acclaim. The PKO’s American Music Research Foundation Big Band Boogie Woogie concert was broadcast nationally on PBS throughout 2009 and 2010. The PKO’s Jazz Student Outreach Program hosted 30 school bands and over 700 student musicians in 2010. Paul is a prolific composer. In October, 2010 the Ypsilanti Symphony Orchestra premiered Paul’s five-movement symphonic composition The Ypsilanti Orchestral Jazz Suite. This major piece, written for jazz band and full symphony orchestra, celebrates Paul’s hometown of Ypsilanti, MI. The suite was received enthusiastically and was praised by community leaders as an important work of art with historical significance. Paul's magnum opus The Michigan Jazz Suite is a collection of 15 Keller compositions inspired by people, places and icons of the great state of Michigan. Featuring the Paul Keller Ensemble with titles like Big Mac, and Soo’s Blues, The Michigan Jazz Suite won the Detroit Music Award for Best Jazz Recording of 2008. In 2007 Keller created 15 original orchestra charts for clarinetist Dave Bennett’s symphonic Pops show A Salute to Benny Goodman. This show, composed for jazz band and full symphony orchestra has been performed by over 25 major US orchestras. Keller also wrote Bennett's second orchestra Pops show Clarinet Is King, featuring 10 new original Keller arrangements of songs from Artie Shaw, Pete Fountain, and Jimmy Dorsey.
    [Show full text]
  • The Jazz Scene: Getting Sassy and Brassy - WSJ.Com 2/5/13 1:34 AM
    The Jazz Scene: Getting Sassy and Brassy - WSJ.com 2/5/13 1:34 AM News, Quotes, Companies, Videos SEARCH U.S. EDITION Thursday, September 20, 2012 As of 10:51 PM EDT Subscribe Log In Home World U.S. New York Business Tech Markets Market Data Opinion Life & Culture Real Estate Careers News Sports Culture Real Estate TOP STORIES IN NEW YORK 1 of 12 2 of 12 3 of 12 4 of 12 Storm Still Hurts Hospitals Eye Big Moving Toward Vacillating Values Suburban Renters Changes After Inclusion Sandy NY CULTURE September 20, 2012, 10:51 p.m. ET Getting Sassy and Brassy Article Comments MORE IN NEW YORK-CULTURE » Email Print By WILL FRIEDWALD The Anderson Twins Play the Fabulous Dorseys 59E59 59 E. 59th St., (212) 279-4200 Through Oct. 7 Remember those mind-blowing, computer-generated images in "Inception" where the horizon seemed to turn in on itself? In this semi-theatrical presentation on 59th Street, one can sense the timeline of jazz history being similarly bent around corners as two of the youngest pro musicians around (fairly recent Juilliard grads) celebrate their ideological forebears: Tommy and Jimmy Dorsey, the legendary brothers who dominated much of jazz and pop in the key years of the American experience, both individually and as a team. Even with a mere six musicians (most importantly, the remarkable trumpeter Jon-Erik Kellso) and no trombone or vocalists, saxophonists Pete and Will Anderson not only guide us through the personal and musical high points of the Dorseys' careers, but establish them as gargantuan heroes of a long-departed, almost mythical era, when the ability to play an instrument better than anyone else could make you king of the whole world.
    [Show full text]
  • Wind Orchestra
    caltech-occidental wind orchestra The Caltech - Occidental Wind Orchestra is comprised of select performers of wind and percussion instruments drawn from the undergraduate and graduate student population at Caltech and Occidental College, plus faculty, alumni, staff and community members from Caltech, and the NASA Jet Propulsion Laboratories (JPL). Currently numbering at approximately 80 musicians, this group rehearses once per week and performs three programs of repertoire per academic year. The repertoire is selected from the finest traditional and contemporary music from around the world. The ensemble (formerly known as the Concert Band) earned great acclaim under the leadership of William Bing, who directed the group for over 40 years. Drawing upon the tremendous talent base of Los Angeles, the group has featured such guest artists as Allen Vizzuti, David Shifrin, Eddie Daniels, Jim Self, Wayne Bergeron and Frank Ticheli. The group has taken on notable recording projects, and tours to such locations as Carnegie Hall and China. Appointed in 2016 as conductor of the ensemble and Director of Performing and Visual Arts, Glenn Price is building on the heritage, tradition and high standards established by Bill Bing. DR. GLENN D. PRICE, CONDUCTOR CALTECH-OCCIDENTAL Dr. Glenn D. Price has earned an international reputation as a leading conductor and educator through his experience conducting student, community and professional symphony orchestras wind orchestra and wind ensembles in over 30 countries. He has conducted many renowned soloists, including Evelyn Glennie, Christian Lindberg, Ney Rosauro, Jens Lindemann, Alain Trudel, Roger Webster, Kenneth Tse, Adam Frey, Simone Rebello, David Campbell, John Marcellus and Michael Burritt.
    [Show full text]
  • Charlie Christian
    Prof. Jeff Campbell Trevor de Clercq 03/05/07 CHARLIE CHRISTIAN CHRONOLOGICAL BIOGRAPHY (based on Broadbent 2003) July 29, 1916: Charlie Christian (hereafter CC) born in Bonham, TX Father is a compressor operator in cotton mill; Mother is a hotel maid c.1918 (age 2): Father loses eyesight; Family moves to Oklahoma City, OK; Father works as a busker on the streets of the city as a guitar player 1926 (age 10): Father dies; CC inherits his father's two guitars 1928 (age 12): CC begins high school; Takes classes with Zelia N. Breaux Oil discovered in Oklahoma City 1930's (teenager): Oklahoma City is a major stopover for bands traveling east and west Deep Deuce area of Oklahoma City becomes a popular jazz neighborhood Older brother Edward becomes an established band leader Western Swing bands feature electric guitar with single-note solos 1932 (age 16): CC meets and jams with Lester Young 1933 (age 17): T-Bone Walker returns to Oklahoma City and jams with CC CC takes bass lessons with Chuck Hamilton 1934 (age 18): CC amplifies his acoustic guitar during gigs with brother Edward 1935 (age 19): CC jams with Cootie Williams as Duke Ellington comes through town CC has a regular gig with Leslie Sheffield and the Rhythmaires 1936 (age 20): CC begins touring the Plains States with various ensembles 1937 (age 21): CC acquires his first electric guitar and amp (Gibson ES150) 1938 (age 22): First recordings of jazz on an electric guitar are made Charlie Parker sees CC play in Kansas City 1939 (age 23): CC returns to Oklahoma City and fronts his own small group Benny Goodman begins recording with various electric guitarists Benny Goodman offers guitar-player Floyd Smith a contract, which is turned down by Smith's manager John Hammond, Goodman's manager, offers CC the job Aug.
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • Ernest Elliott
    THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour.
    [Show full text]
  • Downbeat.Com April 2011 U.K. £3.50
    £3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 630-941-2030 [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, Howard Mandel 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: Robert 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,
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]