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Frank Rosolino
FRANK ROSOLINO s far as really being here, weeks has been a complete ball. have. Those I've met and heard in- this was my first visit to Also, on a few nights John Taylor clude John Marshall, Wally Smith, Britain. I was here in 1953 was committed elsewhere; so Bobby Lamb, Don Lusher, George Awith Stan Kenton, which Gordon Beck come in to take his Chisholm. I liked George's playing was just an overnight thing; so place. He's another really excellent very much; he has a nice conception twenty years have elapsed in be- player. You've got some great play- and feel, good soul, and he plays tween. I've been having an abso- ers round here! with an extremely good melodic lutely beautiful time here, and en- They're equal to musicians I sense. joying London. work with in the States. I mean, it As for my beginnings—I was Playing at Ronnie Scott's with doesn't matter where you are; once born and raised in Detroit, Michigan, me I had John Taylor on piano, Ron you've captured the feeling for jazz, until I was old enough to be drafted Mathewson on bass and Martin and you've been playing it practi- into the Service, which was the latter Drew on drums. Absolutely great cally all your life, you're a pro at it. part of '44. I started playing guitar players, every one of 'em. I can't tell I've heard so much about when I was nine or ten. My father you how much I enjoyed myself, and trombonist Chris Pyne that when I played parties and weddings on it just came out that way. -
An In-Depth Analysis of Classic Jazz Compositions for a Graduate Jazz Guitar Recital Derick Cordoba Florida International University
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 7-20-2007 An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital Derick Cordoba Florida International University DOI: 10.25148/etd.FI14061511 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Music Performance Commons Recommended Citation Cordoba, Derick, "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital" (2007). FIU Electronic Theses and Dissertations. 2495. https://digitalcommons.fiu.edu/etd/2495 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. AN IN-DEPTH ANALYSIS OF CLASSIC JAZZ COMPOSITIONS FOR A GRADUATE JAZZ GUITAR RECITAL A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC by Derick Cordoba 2007 To: Dean Juan Antonio Bueno College of Architecture and the Arts This thesis, written by Derick Cordoba, and entitled An In-depth Analysis of Classic Jazz Compositions for a Graduate Jazz Guitar Recital, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Sam Lussier Gary Campbell Michael Orta, Major Professor Date of Defense: July 20, 2007 The thesis of Derick Cordoba is approved. Dean Juan Antonio Bueno College of Architecture and the Arts Dean George Walker University Graduate School Florida International University, 2007 •• 11 ABSTRACT OF THE THESIS AN IN-DEPTH ANALYSIS OF CLASSIC JAZZ COMPOSITIONS FOR A GRADUATE JAZZ GUITAR RECITAL by Derick Cordoba Florida International University, 2007 Miami, Florida Professor Michael Orta, Major Professor The purpose of this thesis was to analyze jazz compositions by several great composers. -
Friday Evening, March 13, 2020 at 8:00 Lydia Mendelssohn Theatre Ann Arbor Tarek Yamani / Piano Sam Minaie / Bass Diego Joaquin
Friday Evening, March 13, 2020 at 8:00 Lydia Mendelssohn Theatre Ann Arbor TAREK YAMANI TRIO Tarek Yamani / Piano Sam Minaie / Bass Diego Joaquin Ramirez / Drums 79th Performance of the 141st Annual Season 26th Annual Jazz Series Traditions & Crosscurrents This evening’s performance is supported by The Renegade Venture Fund, established by the Maxine and Stuart Frankel Foundation. Tonight’s performance is funded in part by the JazzNet Endowment Fund, the Commission on Middle Eastern American Affairs, and the National Endowment for the Arts. Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Metro Times. Special thanks to Victoria Langland, Mark Clague, Seema Jolly, Kathryn Grabowski, Jordan Anderson, Josephine Ala, the Arab American National Museum, Fordson High School, U-M College of Literature, Science, and the Arts, U-M School of Music, Theatre & Dance, and Ann Arbor Public Schools Community Education and Recreation for their participation in events surrounding this evening’s performance. Special thanks to Pamela Ruiter-Feenstra, visiting university carillonist, for coordinating this evening’s pre-concert music on the Charles Baird Carillon. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM This evening’s program will be announced by the artists from the stage and is performed without intermission. 3 AFRO-ARABIC JAZZ CONCEPTIONS Tarek Yamani’s critically acclaimed album Lisan Al Tarab: Jazz Conceptions in Classical Arabic is an exploration of classical Arabic music within the frameworks of African American jazz. -
Thomas Blachman, Carsten Dahl and Lennart Ginman Interpreted a Number of Jazz Standards on Blachman Introduces Standard Jazz & Rap, Vol
From a tight, rhythmic pulsing swing beat to abstract, dissolving free structures, it is music of its GinmanBlachmanDahl time rooted in the classic, beguiling melancholy of jazz, yet simultaneously invoking a universal meeting among three virtuoso instrumentalists. It is an attempt to make time stand still, in a moment of utter selflessness in the service of music. Three instruments conversing in a pure language without small talk and automatism. Each member of the trio is a leading figure on the Danish music scene. All three have a large body of work behind them, testament to extreme artistic diversity and freedom in their creative approach. GinmanBlachmanDahl occasionally take part in musical meetings with other artists, including such names as Palle Mikkelborg, Nils Petter Molvær, Claus Hempler and Stephen Riley. This album is produced in collaboration with Danish loudspeaker manufacturer, DALI, whose hi-fi speakers are acclaimed for a clear, authentic and natural sound that reproduces the music as intended by the artists. DALI has released several compilations with the aim to give music lovers a clear, dynamic and natural sound experience - all done in respect and admiration for music, the artists and our audience. The Velvet Blues is the trio’s third release. Previous releases include: GinmanBlachmanDahl is an exceptional trio on the Scandinavian jazz scene in 2020. The Library Bar Concerts (2003) The group consists of three of the country’s most significant musical personalities. The trio was the GinmanBlachmanDahl (2004) first Danish group ever released by legendary Verve Records. Their unshakeable faith in the magic of improvisation among the three instrumentalists is the very foundation of GinmanBlachmanDahl’s Press reviews: open musical universe, earning them a well-deserved reputation for delivering fiery live performances. -
In This Iss Ue
Jazz Notes TM The Journal of the Jazz Journalists AssociationSM Vol. 19, No. 3 • Autumn 2008 Growing the organization through new media, renewed energy. From the Editor 3 Letter to the Editor 4 JJA 2.0 n the aftermath of a highly success- pal Michael Ricci, newmusicbox.org edi- Doug Ramsey: 5 ful 12th annual Jazz Awardssm, the JJA tor and publisher Frank J. Oteri, and JJA A Lifetime of Achievement I is taking a close look at itself, hoping members Lara Pellegrinelli and Joe Petru- to consolidate and strengthen its positions celli are among those who have chimed in By Ken Dryden and move ahead. The board, officers and with comments, mostly aiming at helping active contributors to the JJA want to ex- the JJA’s media and message be at the A Conversation with 7 pand the organization’s leadership cadre Wolfram Knauer and new membership, reconceive the JJA website, repurpose Jazz Notes and come By W. Royal Stokes up with relevant programs in response to issues regarding arts journalism, pressed Lourdes Delgado Hear Me Roar 9 by contemporary digital platforms that are determining the shape of journalism By Claire Daly as a profession, affecting all of us. One major shift of responsibilities is the Jazzing Caesarea 10 assignment of New York-based member President’s By Dan Morgenstern Eugene Marlow as our new JJA treasur- er — accompanied by the JJA board and Report News of Members 11 membership’s great thanks to Arnold Jay Smith for a dozen years of invaluable Howard Mandel service, during which he kept the books New Members 12 during the organization’s transition to forefront of how the arts can be covered legal nonprofit 501(c)(3) status, docu- now. -
MASTERCLASS WORKSHOP the LIFE and MUSIC of BILL EVANS Presented by Jazz Pianist/Composer David Thompson the LIFE of BILL EVANS
MASTERCLASS WORKSHOP THE LIFE AND MUSIC OF BILL EVANS presented by jazz pianist/composer David Thompson THE LIFE OF BILL EVANS THE EARLY YEARS MILES DAVIS THE FIRST TRIO SCOTT LAFARO ORRIN KEEPNEWS RIVERSIDE RECORDS JIM HALL EARL ZINDARS HELEN KEANE HARRY EVANS VERVE RECORDS CONVERSATIONS WITH MYSELF WITH SYMPHONY ORCHESTRA GARY PEACOCK CHUCK ISRAELS TOWN HALL EDDIE GOMEZ MARTY MORELL MONTREUX NENETTE ZAZZARA EVAN EVANS ALONE MONTREUX II COLUMBIA RECORDS THE BILL EVANS ALBUM FANTASY RECORDS THE TOKYO ALBUM MONTREUX III INTUITION WARNER BROTHERS YOU MUST BELIEVE IN SPRING THE PARIS CONCERT TONY BENNETT ALONE AGAIN MARC JOHNSON JOE LABARBERA TOOTS THIELEMANS LAURIE VERCHOMIN KEYSTONE KORNER TODD BARKAN THE LAST WALTZ TURN OUT THE STARS SEPTEMBER 15, 1980 THE MUSIC OF BILL EVANS IN PERFORMANCE EVOLUTION OF PLAYING: VERY EARLY/ TURN OUT THE STARS/ WALTZ FOR DEBBY RE: PERSON I KNEW/ BLUE IN GREEN/ STELLA BY STARLIGHT/ EMILY/ MY ROMANCE QUIET NOW/ TIME REMEMBERED/ SOMEDAY MY PRINCE WILL COME/ NARDIS REPERTOIRE COMPOSITIONS WALTZ FOR DEBBY VERY EARLY BLUE IN GREEN RE: PERSON I KNEW TURN OUT THE STARS THE TWO LONELY PEOPLE LETTER TO EVAN TIME REMEMBERED STANDARDS DAYS OF WINE AND ROSES TOUCH OF YOUR LIPS IN YOUR OWN SWEET WAY MY ROMANCE MAKE SOMEONE HAPPY IN YOUR OWN SWEET WAY THE TOUCH OF YOUR LIPS SOMEDAY MY PRINCE WILL COME WHAT KIND OF FOOL AM I EMILY NARDIS QUIET NOW REMEMBERING BILL NENETTE ZAZZARA LAURIE VERCHOMIN ORRIN KEEPNEWS ABOUT: BILL EVANS MASTERCLASS WORKSHOPS and JAZZ PIANIST/COMPOSER DAVID THOMPSON The Bill Evans masterclass and workshop provides an in depth look at both Bill's personal life and his music, and, at jazz piano as it was influenced by Bill's playing and his artistry, from Bill's childhood and formative days with brother Harry, to the beginning of his jazz career, and his emergence as a great innovator and genius, as he became a major artistic force in twentieth century music. -
Contemporary Label Discography [Document]
Contemporary Label Discography Lester Koenig started the Good Time Jazz label in Los Angeles in 1951, it was located at 707 North Irving Boulevard. In 1953 they moved to 8481 Melrose Place. Vice President of the company was Bob Kirstein. Producers were Nesuhi Ertegun (later of Atlantic fame) and Bob Kirstein. The output of the label was jazz and folk music. Contemporary Records was formed as a subsidiary in 1952 or 1953. Contemporary was also located at 8481 Melrose Place. The output of Contemporary was jazz and classical music. The Society For Forgotten Music Label (SFM) subsidiary was formed in 1958. The SFM label released classical music. The California Label subsidiary was formed in 1958 and only released one known album. Contemporary formed a label called Stereo Records in 1958, and released stereo versions of albums released in monaural on California, Contemporary, Good Time Jazz and the Society for Forgotten Music. This separate label for stereo was used into 1959 and then abandoned and stereo releases were issued on the same label as the monaural releases. All of the Contemporary labels were purchased by Fantasy Records. This Discography includes the Contemporary Label, Good Time Jazz, California, Stereo and Society for Forgotten Music (SFM) Labels This Contemporary Label discography was compiled using Schwann catalogs from 1950 to 1982, Phonolog from 1963, The Complete Library of American Phonograph Recordings (1958-1968) by Jerry Osborne, The Jazz Discography Project Website (http://www.jazzdisco.org), The American Record Label Directory and Dating Guide, 1940-1959 by Galen Gart and my record collection. Tracks are listed in order they appear on the albums, when known and the double slash (//) is indication of the separation between sides. -
An Analysis of the Compositions of Bill Evans, Billy Strayhorn, and Bill Murray
Billy's Touch: An Analysis of the Compositions of Bill Evans, Billy Strayhorn, and Bill Murray J. William Murray Towson University March, 2011 Billy's Touch Introduction Composers of any musical style are influenced by what they hear. There are certain sounds that resonate with each composer and musical elements that create these sounds will appear in his/her works. In addition to being influenced through the listening process, musical elements of others composers are learned by analyzing their works, transcribing compositions or other means of study and will also likely find their way into compositions. The study of music theory will also influence what appears in whatever they write or arrange. Because of all these influences and many more things that impact a particular composition, it is difficult to determine a specific influencer for most composers. However, most times when they are asked whose works they admire, they are able to name several composers that are more meaningful. In my case, there are two composers, Bill Evans (1929- 1980) and Billy Strayhorn (1915-1967), whose compositions have a particular resonance with me. Why am I drawn to these composers? Why do I enjoy listening to their works? Why do I enjoy playing their tunes on the piano? These are all questions that I have been unable to answer other than I enjoy listening to them. As part of my interest in and study of jazz, I have begun to compose tunes to be played primarily by small jazz ensembles. If the above hypothesis is true, characteristics of Evans's and Strayhorn's music should appear in my compositions. -
Jazz Timeline
Date Developments in Jazz Historical Events 1960 Trumpeter Miles Davis records Sketches of Spain, Writer Albert Camus is killed in a car crash. The first which uses Flamenco music, and then tours Europe. laser beam is demonstrated. African-American The Modern Jazz Quartet records an album with students stage sit-ins in North Carolina. orchestral accompaniment. Crowd disturbances disrupt the Seventh Newport Jazz Festival. Saxophonist John Coltrane and trumpeter Don Cherry collaborate on the album Avant-Garde, influenced by saxophonist Ornette Coleman. Coltrane records My Favorite Things with his new quartet. Drummer Max Roach records We Insist!: Freedom Now Suite. Pianist Cecil Taylor and saxophonist Archie Shepp record The World of Cecil Taylor. Bassist Charles Mingus and saxophonist/clarinetist Eric Dolphy record What Love and Fables of Faubus, the latter written about the governor who opposed desegregation. Drummer Shelly Manne opens the club "Shelly's Manne-Hole" in Los Angeles. Ornette Coleman records Free Jazz. 1961 Drummer Art Blakey's Jazz Messengers tour Japan. Russian cosmonaut Yuri Gagarin is the first man in Miles Davis records live at San Francisco's Black space. Writer Ernest Hemingway dies. The Berlin Hawk. Davis and arranger Gil Evans appear at Wall is completed. The birth-control pill is introduced. Carnegie Hall. Trumpeter Dizzy Gillespie appears at Writer Joseph Heller's novel Catch-22 is published. Carnegie Hall. Pianist Thelonious Monk tours Cuban exiles attempt to overthrow Cuban leader Europe. Ornette Coleman's avant-garde quartet Fidel Castro in the Bay of Pigs invasion. John F. disbands. Down Beat magazine prints several Kennedy becomes president. -
An Interview with Emmett Chapman, Inventor of the Chapman Stick by Stephen Rekas
An Interview with Emmett Chapman, Inventor of the Chapman Stick by Stephen Rekas I met Emmett Chapman at 1981 Summer NAMM Show in Chicago. Then as now, I was impressed with his willingness to entertain questions from the largely uninformed. As I had come to Chicago from Spain where I was studying the classic guitar, I had to try the Stick on for size- and failed miserably. I could see it required a different mindset than the guitar, and reading Emmett's responses to my questions now, I can see that he too "completely changed character as a musician stylist" the moment he picked up his newly invented instrument. I simply wasn't ready to make that change, and I'm still not ready. Fast forwarding to July 2005, I happened to meet Stick player Steve Adelson in Litchfield, Connecticut at the First International 10-String Guitar Festival directed by Narciso Yepes protégé, Janet Marlow. Steve and I remained in touch and together we hatched the idea of a Stick Method to be published by Mel Bay Publications and endorsed by Emmett Chapman. My boss, William Bay, has to be credited with the business acumen and foresight to see the possibilities in such a project. Look for Steve's book/CD sometime in 2006 or early 2007. I am privileged to interview both Emmett Chapman and Steve Adelson in this issue of Guitar Sessions. Stephen Rekas Guitar Sessions Editor In the Beginning What inspired the concept of the Chapman Stick? Was there an Aha! moment? Barney Kessel was following several of my innovations on guitar. -
53 Montreux Jazz Festival - June 28 - July 13 2019
PRESS KIT 53 MONTREUX JAZZ FESTIVAL - JUNE 28 - JULY 13 2019 06.06.19 VERSION MAIN PARTNERS 53 MONTREUX JAZZ FESTIVAL JUNE 28 — JULY 13 2019 WWW.MONTREUXJAZZFESTIVAL.COM 2 CONTENTCONTENT EDITORIAL 3 ELTON JOHN AT MONTREUX 4 FESTIVAL STAGES 5 PROGRAMME 6-15 AUDITORIUM STRAVINSKI 16-19 MONTREUX JAZZ CLUB 20-23 MONTREUX JAZZ LAB 24-27 FREE PROGRAMME 28 LA COUPOLE 29 LISZTO CLUB 30 MUSIC IN THE PARK 31 TERRASSE IBIS MUSIC 32 MONTREUX JAZZ INSIDER 33 DID YOU KNOW? 34-35 POSTERS 2019 36-37 THE FESTIVAL UNIVERSE 38 FACTS & FIGURES 39 TICKETS & PRACTICAL INFO 40 PRESS OFFICE 41 PARTNERS 42 IMPRESSUM Fondation du Festival de Jazz de Montreux © 2019 Communication Department Photos FFJM : Daniel Balmat, Marc Ducrest, Lionel Flusin, Emilien Itim, Anne-Laure Lechat, Anoush Abrar Edourard Curchoud for GM Press Artists pictures : Record Companies, Labels, DR Cover Fondation du Festival de Jazz de Montreux 2019 © Ignasi Monreal 53 MONTREUX JAZZ FESTIVAL JUNE 28 — JULY 13 2019 WWW.MONTREUXJAZZFESTIVAL.COM 3 EDITORIALEDITORIAL Dear friends in the media, I don’t mind admitting it: we were under quite a bit of pressure. Announcing that Elton John was coming to Montreux was exceptional, even more so as part of his farewell tour. The 53rd edition already had its signature, historic event. But afterwards, we had to keep to that tempo for the 47 shows. That’s why I am so proud of our team and of the programming for this edition. Look through the artists for the Auditorium Stravinski and each night you will find a strong, singular personality, most of whom have made their mark on a period in musical history. -
J'ai Le Regret De Vous Dire Oui Michel Legrand: a Memoir
Michel Legrand with Stéphane Lerouge J’ai le regret de vous dire oui Michel Legrand: A Memoir Excerpt translated by Jonathan Kaplansky 2 Passport to Hollywood May 2011. Biarritz betrays its reputation: it looks like rain, or at least drizzle. Behind the camera, I watch the initial steps of Frédéric Beigbeder, filming the adaptation of his novel, L’Amour dure trois ans (Love Lasts Three Years). Beigbeder has asked me to make a cameo appearance in it. I like his casual demeanor, enthusiasm, and obvious knowledge of his trade. Facing the camera, the film’s main character–Frédéric’s double–confesses he’s addicted to my music, saying: “In my life, every time things haven’t been going well, Michel Legrand has been there to save me.” This dramatic admission reveals the soft side of a literary critic who hides behind a mask of provocation and cynicism. At the end of the film there’s a wedding during which I miraculously appear on the beach at Biarritz, seated at a grand piano. When it came to choosing the song I’d interpret, Frédéric was adamant: it had to be The Windmills of Your Mind. I tried to negotiate but he wouldn’t budge an inch. In forty years, I’ve had to play that hugely popular piece thousands upon thousands of times. In the end, I gave in and accepted the idea that if I had to be limited to one song, just one, that would be it. On the set, they’re waiting for the light to be less harsh so that they can start filming.