DOCSLIB.ORG

Jazz & Blues Walk

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

JazzErie notes The Monthly Newsletter of JazzErie July 2011 Vol. 17, Issue. 1 17 Years Serving the Jazz Community THE JAZZ JAZZ & BLUES WALK ROAD TRIP By Gary Finney, Jazz SATURDAY, JULY 9 @ 7:00 P.M. Erie Board Member and WQLN Jazz host This year’s popular Jazz and Blues Walk begins at 7PM with refreshments and the Allen Zurcher Quartet providing the entertainment at the attractive new annex to the Four road trips in thirteen days, phew! Erie Art Museum (E. 5th off State, downtown Erie). (Picture of art museum annex Three were within 100 miles, but it is the in middle of text) Three new venues expand and enhance this year’s walk: Under the fourth one that merits special recognition. Clock in the former Boston Store, Vermont Tavern (formerly Nelsons) at 1033 State When the rarity of a performance is this Street, Señior Coyote…which also means more bands! Here is the night’s rundown: exceptional, the lure of being there, even if entailing fourteen total hours of travel, 8 to 11PM make it all worthwhile. Lydia Marks & Jazz Inc..................Under the Clock (old Boston Store) And so it was when Drew Gress took the JD Jazz and Blues ...........................Matthews Trattoria bandstand at Manhattan’s Jazz Standard Eric Brewer and Friends .................Scotty’s with Tim Berne, Craig Taborn, Ralph Alessi and Tom Rainey; the 7 Black Butterflies band. With a recording session 9 to 12PM only five days away, this gig provided Dave Callaghan and Uptime ...........Señior Coyote’s some final adjustments to a plethora of Charles Ventrello Quintet ...............Pufferbelly exhilarating, new material and a grateful featuring Barbara Jean audience was more than happy to share the Steve Trohoske ...............................Bay Breeze experience. Sheet music overflowed the music 10 PM to 1AM stands for both sets as the quintet delved Mary Alice Brown ..........................1201 State into Gress’ adventurous compositions. His 25 or 64 ...........................................Brewerie (the old train station) charts are so intelligently conceived, with Duke Sherman ................................Plymouth improvisational sections seamlessly woven BluesBeaters ...................................Vermont into the composed sections, that only watching a soloist’s eyes betrayed when he You can purchase your buttons now for $10 at Romolos and the Erie Art Museum. was reading, versus taking flight. Each of The night of the Walk buttons can be bought on State Street in front of the Art Museum the new pieces played was labyrinthine in or outside the Art Museum Annex, or at the venues. Each venue will have buttons design and serpentine in execution, much available for about an hour after the beginning of their scheduled performance. Price like the snake that swallowed its tail and $10. Think of it! Ten places to enjoy Jazz (or Blues) for Ten Bucks! If you buy your thus ate itself. button the night of the Walk you will also receive a map of all the locations. Plus, Gress was the unassuming anchor in the the trolley (s) will be there beginning at 8PM (at the Art Museum) to take you to the band, his woody, resonant bass unselfishly different locations and from venue to venue throughout the night. throbbing life into the music, akin to Dr. Join JazzErie Saturday, July 9, for a great night of Jazz and Blues. … beginning at the Frankenstein with his creature. His fingers Art Museum Annex at 7PM ferociously plucked and coaxed the strings as he led the unfolding development Road Trip (cont. on pg 3) For More Information: www.jazzerie.com Jazz EriE JAZZ ERIE MOURNS THE LOSS OF JazzErie is a com- munity of music lovers and A GIANT OF JAZZ, GENE LEONE musicians and, a member- ship organization dedicated On Tuesday, May 3, Gene Leone passed away at his residence. He started playing to sharing with children, in Erie clubs at the age of thirteen. He began with the Bud Palmer orchestra, played adults and one another an awareness and love of at the Calabrese Club, then spent years playing at the Spa Club. That evolved into the music, particularly jazz. JazzErie brings Spa Quintet that brought in the New Year for 60 years! He contributed to JazzErie’s together people who want to listen to jazz, mission to bring jazz to our community. He will be sadly missed by all of the Jazz learn about it, play it and just live it. community who were enriched by his music and his winsome personality. The following and final “farewell” was written and delivered by Stan Bialomizy at Gene’s Check out our website at funeral mass at St. George’s church. www.jazzerie.com for complete information on current and upcoming events. 2011-2012 Board of Directors President................................................... Vice President ............................. Ted Ely Treasurer ........................... Rich Giardina Recording Secretary ............ Liz Scarpelli Directors Paul Bates Charles Lute John Marzalek Ed Goebel Scott Meier Rob Hoff “This is a tribute to a musician who was so important to our Jazz Erie Community. Charles Joy Patricia Tellers He made a difference in the lives of so many who knew this very special and Al Lubiejewski Mary E. Watson extraordinary guy named Gene Leone. His notes are now silent. Michael Leal Allen Zurcher It’s not easy to briefly summarize a successful, ambitious Gene who did so much. Brian Duke David Eichelsdorfer He built homes, he sold real estate, was a business man, taught piano. Most of all it Gary Finney Joe Dorris was his family he always held in high esteem. The family home was always busy with John Vanco (ex officio) the phone ringing, or someone in the family or friend coming to be in the company Past Presidents of Virginia and Gene. Whether you wanted it or not you were given a cup of coffee, David F. Van Amburg 1994-1995 freshly made. Without a doubt he was dedicated to his family, friends, and his music. (Founding President) He was a giving and loving person to everybody. He was a kind of joker who made Atty. Al Lubiejewski 1995-1997 people laugh. Virginia M. Pelkowski 1997-1999 Gene, a crossover from classical to jazz, had a deep respect for his fellow musicians R. Patrick Rodgers 1999-2002 Steve Eidell 2002-2003 …whether leader or accompanist. After working a gig we would always go for a late Tom McLaren 2003-2005 night snack that featured Gene sharing a lifetime of behind-the-scenes stories of his Carl Hultman 2005-2008 childhood, navy musician days and Erie life. There were times I had to leave the table Ed Goebel 2008-2010 before collapsing from laughter. When he sang, the story telling lyrics were sung with Dick Thompson 2010-2011 a unique interpretation that only Gene could do. When playing a room …as soon as he began singing, the room would become silent. His voice was warm, resonant, and JazzEriE NotEs is published in jazz performance months by JazzErie which is commanding. Who will ever forget his version of “Delilah” or “Here’s That Rainy a subsidiary organization of the Erie Art Day?” I loved the way he would “comp” and how harmonically interesting he laid Museum, a nonprofit organization. down the changes. All that made for a swinging, relaxed, happy time. A club owner JazzErie Notes once said, “Gene, don’t play and sing like that. Nobody’s drinking.” Gene was the ultimate musician. Editor - Tom McLaren published by I guess Heaven was hooked by a piano player with an infectious voice and charming The Erie Art Museum for JazzErie smile. He decided to take him. I’m sure there is a long line of musicians waiting printed by to sit in and play in Gene’s heavenly band. I’ll have to roll up my sleeves and start Copyright Printing & Graphics practicing for that day! 2827 West 26th St. • Erie, PA 16506 Finally, on behalf of Gene’s family and many friends, THANK YOU for your Deadline is the 15th of each month. amazing friendship and love and for performing at an all-time high for us. Enjoy being Send articles to: in heaven with Virginia. May the Lord bless and keep you ‘til we meet again. [email protected] A friend or Box 8833, Erie, PA 16505 Stan Bialomizy Page 2 JazzErie Notes “More ‘n Road Trip (cont. from pg. 1) JAZZERIE DISCUSSION GROUP Four” ,Allen’s is “Victory”. of each of these heady compositions. Calling his drive merely relentless Listen up. diminishes his ardor. “The Co-conspirator in propelling the band Original was drummer Tom Rainey. A master of Mambo dynamic subtlety and obtusely pulsating torrents, his perpetual thousand-yard- Kings” is a stare led you to believe that he is the one collection of member of the band that has memorized Afro-Cuban all of this new music. He was definitely orchestras “in the zone.” Rainey’s kick drum was demonstrating noticeably hyperactive, pounding home a range of the urgent tempo sections like a single by Charles Ventrello rhythms, tempos and forms. Some piston steam engine. Tim Berne and Ralph Alessi shared of the artists represented include the front line, on alto and trumpet, Machito, Chico O’ Farrill, Charlie Most jazz flutists have been respectively. While being a staple of Parker and Flip Phillips. We listen to the avant-garde contingent of New York saxophonists who double on flute the exciting, five movement “Afro- musicians for thirty plus years, Berne because of necessity, novelty, or Cuban Jazz Suite”. One hot album. eschews the overblown multiphonics of aesthetics. Some have become very Mucho caliente. Thanks to Jim many other associated saxophonists. His good on the instruments: James alto, no matter how dense the lines being Metzler.
Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement

    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.
  • Johnny O'neal

    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.
  • City, University of London Institutional Repository

    City, University of London Institutional Repository

    City Research Online City, University of London Institutional Repository Citation: Lockett, P.W. (1988). Improvising pianists : aspects of keyboard technique and musical structure in free jazz - 1955-1980. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8259/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] IMPROVISING PIANISTS: ASPECTS OF KEYBOARD TECHNIQUE AND MUSICAL STRUCTURE IN FREE JAll - 1955-1980. Submitted by Mark Peter Wyatt Lockett as a thesis for the degree of Doctor of Philosophy The City University Department of Music May 1988 TABLE OF CONTENTS Page No I List of Figures 3 IIListofRecordings............,........ S III Acknowledgements .. ..... .. .. 9 IV Abstract .. .......... 10 V Text. Chapter 1 .........e.e......... 12 Chapter 2 tee.. see..... S S S 55 Chapter 3 107 Chapter 4 ..................... 161 Chapter 5 ••SS•SSSS....SS•...SS 212 Chapter 6 SS• SSSs•• S•• SS SS S S 249 Chapter 7 eS.S....SS....S...e.
  • Jazz at the Crossroads)

    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.
  • Recorded Jazz in the 20Th Century

    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
  • NULL-F Is Easily The.Most Ambitious One in the Last Couple of Years

    NULL-F Is Easily The.Most Ambitious One in the Last Couple of Years

    is published by Ted White, 339, 49th St., HusoZlyn 20 N Y (11220) and xi * k a the doughty QWERTYUIOPress. This is our. Tenth Anniversary’Issue. Hoorly. 4t THE INTENTIONAL COMMUNITY — UTOPIA, OR REALITY? 11: NOTED: FAPA 109 16: CHARLES MINGUS — AN APRHECIATION AND REAPPRAISAL all written by your humble editor & publisher UR FISH THOTS THISH OF NULL-F is easily the.most ambitious one in the last couple of years. This was largely accidental, but I hardly ,IJa'sFJuch as this is the°first tinie 'in^niany^year^ thalt T f®^ulr?d t0 hav® activity in a mailing (at least five pages), I may as_well celebrate the fact with a surplus of material. & The article which begins on the next page was originallv writ­ ten for Sandi's TURNING ON (the second issue of which I put through Sry!ar a®° this mailing), and has been on stencil for three-quar- he? more. I spoke to her on the phone recently and asked her if she still planned, a third issue of the zine. nI do ’’she <?aid "but it'll be very-different in orientation." My article on "intension al communities” won't fit into her new scheme of things ntention wu. , so it is see- mg print here, and for the first time. (’I considered____ . doing a postscript ?jAtz Presmont, whose name has been in the papers^of late^but * m w9uld. neither a^d; to nor detract from the article as it stands. Presmontwas. simply a peg upon which I hung the piece, anyway.) McCombs and is an^1Cle'’ °n Charles Mingus, was stencilled by Larry z a SAWT -3?^ T LT TT simultaneously in his personal-7 zme, oAiyvrtiii-bAT., J don’t need the activity credit for this Ho T won't ..raise the question of whether or not it qualifies as a "rep?int." WITTEN ANY GOOD BOOKS LATELY? It finally dawned on me that despite EsEE’E; Hashine.
  • Jeff Rupert Saxophone Master Class

    Jeff Rupert Saxophone Master Class

    Jeff Rupert Saxophone Master Class I Saxophone Assembly and maintenance Holding the instrument. The neck and mouthpiece assembly. Checking key mechanisms. Checking for leaks, and clogged vents. Maintaining the lacquer. Setting the instrument down. II Posture The Back and neck. Legs and knees. III Breathing and Breath flow Inhaling. Exhaling. Breath solfège IV The Oral Cavity and the Larynx. V Embouchures for playing the saxophone. Variance in embouchure technique. The embouchure and breathing. VI Daily Routines for practicing the saxophone. Daily routines and rituals. Playing the mouthpiece. Playing the mouthpiece with the neck. Overtone exercises. VII Articulation Single tonguing. Doodle tonguing. Alternate articulations specific to jazz. Double tonguing. VIII Practice patterns for scales. Scales and Arpeggios Major, minor (dorian, natural minor, ascending jazz melodic minor, harmonic minor) and diminished. Resources for jazz scales. IX Equipment Different horns. Mouthpieces. Reeds. Ligatures. Neckstraps. X Resources for saxophonists Recordings. Web resources. Books and educational CD's and DVD's. Saxophonists in jazz and pop music. XI Conclusion. ©2009 Rupe Music Publishing 001 saxophone master class, Jeff Rupert pg2 I Saxophone Assembly and maintenance Neck and mouthpiece assembly: Putting the saxophone together is something we've all been doing since day one. It may seem trite to even address assembly of the instrument, but its been a common flaw not to develop good habits. I've seen broken mouthpieces, bent rods and necks several times from seasoned professionals who should have known better! This is precisely why its important to develop good habits when putting your instrument together. Prior to putting the mouthpiece on the neck, make certain that the cork is lubricated.
  • Bakalářská Práce JAMU 2013

    Bakalářská Práce JAMU 2013

    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Studijní obor Jazzová interpretace Charles Mingus Bakalářská práce Autor práce: Ing. Radim Hanousek Vedoucí práce: MgA. Jan Dalecký Oponent práce: doc. Jaroslav Šťastný, Ph.D. Brno 2013 Charles Mingus HANOUSEK, Radim. Charles Mingus. Brno: Janáčkova akademie múzických umění v Brně, Fakulta hudební, Katedra jazzové interpretace, 2013, 33 s. Vedoucí diplomové práce MgA. Jan Dalecký. Anotace Diplomová práce „Charles Mingus“ pojednává o jazzovém kontrabasistovi a skladateli Charlesovi Mingusovi, jeho životě, díle a odkazu. Zvláštní kapitolou jsou Mingusovy kompoziční techniky. Podrobněji se zabývá alby Pithecanthropus Erectus (1956), The Clown (1957) a vydaným záznamem z koncertu v Town Hall v New Yorku – Town Hall Concert (1964). Annotation This Bachelor's Thesis titled "Charles Mingus" focuses on jazz contrabassist and composer Charles Mingus, his life, works, and his message. Mingus' composition techniques represent a special chapter of the Thesis. Detailed attention is paid to albums Pithecanthropus Erectus (1956), The Clown (1957), and the album with publicly released recording of his concert in the New York Town Hall – Town Hall Concert (1964). Klíčová slova Charles Mingus, jazz, Pithecanthropus Erectus, The Clown, Town Hall Concert, Atlantic, Epitaph Keywords Charles Mingus, jazz, Pithecanthropus Erectus, The Clown, Town Hall Concert, Atlantic, Epitaph Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny
  • POLITICS and JAZZ by Ian Muldoon* ______

    POLITICS and JAZZ by Ian Muldoon* ______

    POLITICS AND JAZZ by Ian Muldoon* __________________________________________________________ "Mankind’s sole salvation lies in everyone making everything their business.” -Anonymous "I ask you this question Cause I want to know How long I got to fight BOTH HITLER-AND JIM CROW.” -Langston Hughes Jazz poet (James Mercer) Langston Hughes… __________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. He listened to Eric Child’s ABC radio programs in the 1950s and has been a prolific jazz records collector wherever he lived in the world, including Sydney, Kowloon, Winnipeg, New York and Melbourne. He has been a jazz broadcaster on a number of community radio stations in various cities, and now lives in Coffs Harbour. 1 “The thing that’s really great about jazz is that it’s a real, vital, contemporary music. It’s representative of everyone on this planet. This is the first music that is technically, and spiritually, representative of all of us.” -Lester Bowie American trumpeter Lester Bowie… PHOTO CREDIT JORGE KRUGER “No human motion reveals more of what is human and how it interacts with the non- human than improvisation on musical instruments.” -Brian Morton Scottish jazz writer Brian Morton…PHOTO COURTESY JAZZ JOURNAL 2 'Today more jazz musicians than ever are expressing social engagement through music.
  • Medeski, Blackman Santana, Reid & Bruce Explore the Music of Tony

    Medeski, Blackman Santana, Reid & Bruce Explore the Music of Tony

    DOWNBEAT Steve Turre Preservation Hall Jazz Band @ 50 SPECTRUM R OA D // STEVE STEVE T URRE // P RE S ERVATION HALL JAZZ BAN D // Spectrum Road M ARY HALVOR ARY MEDESKI, BLACKMAN SANTANA, REID & BRUCE S ON EXPLORE THE MUSIC OF TONY WILLIAMS Guitar School Mary Halvorson John McLaughlin TRANSCRIBED JULY 2012 U.K. £3.50 Neil Haverstick MASTER CLASS J ULY Eric Revis 2012 BLINDFOLDED DOWNBEAT.COM JULY 2012 VOLUme 79 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 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 Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
  • Jazz 1-800-637-2852

    Jazz 1-800-637-2852

    JAZZ Artist Collections..............................................................................................2 Fake Books....................................................................................................23 Real Chord Changes and Substitutions.......................................................26 Jazz Bible Series ........................................................................................27 The Best Chord Changes............................................................................27 Songbooks.....................................................................................................28 Bass...........................................................................................................28 Easy Piano.................................................................................................28 Piano Solo.................................................................................................29 Piano/Vocal/Guitar.....................................................................................33 Voice .........................................................................................................35 Guitar ........................................................................................................35 Solo Instruments .......................................................................................38 Jazz Play-Along Series....................................................................................40 Play-Along Collections ...................................................................................41
  • XI. Charles Mingus

    XI. Charles Mingus

    XI. Charles Mingus It was Mingus who soon became the dominant jazz composer of his time and the one who had the furthest-reaching influence on what he called “jazzical moods.” Even as far back as his 1940s recordings of Story of Love and Inspiration (which later, with lyrics added, became God’s Portrait), Mingus evolved a highly unusual and individual style of scoring that sounded classical yet seemed to owe nothing to any particular classical composer. Generally, he gravitated towards unusual, dark keys such as D� or E� minor; his melodic structures often followed the unusual chord changes rather than leading them; and his instrumentation usually focused on low strings and brass (cello, French horn, trombone, bass and sometimes viola) with the upper range provid- ing contrast via high winds (flute, clarinet, and alto sax). Even at Brandeis, where he had the op- tion to use violins if he chose, he scored Revelations in this manner. And curiously, Mingus never felt compelled to complete the work, leaving this “first movement” an orphan for the re- mainder of his life. Jazz critic Brian Priestly has suggested filling in the work with other pieces from around the same time, such as Slippers, although I hear it better filled out with Adagio ma non troppo as the second movement and Far Wells, Mill Valley as the third. Four our purposes here, we shall go back to 1953 to begin our chronology of his works, specifically with the first recording of Eclipse. Written for Billie Holiday, who never sang it, the lyrics refer to interracial love (“Eclipse…where the moon meets the sun…Eclipse…where two bodies meet as one”).