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ORGANIZATION: Contact: Thousand Oaks Alliance for the Arts Colleen Debler 2100 Thousand Oaks Blvd. [email protected] Thousand Oaks, CA 91362 805-449-2765 NEWS RELEASE FOR IMMEDIATE RELEASE Thousand Oaks Alliance For the Arts Nov. 15, 2017 Leanne Neilson Big Bad Voodoo Daddy Rings in 2018 Chair With A Swingin’ New Years Eve Concert Bob Biery Vice Chair (Thousand Oaks, CA) – Celebrate the New Year with Big Bad Voodoo Daddy at the Bank John Bradley of America Thousand Oaks Civic Arts Plaza, Fred Kavli Theatre, Tuesday, December 31, Treasurer 2017 at 8:00 p.m. David Mead 2017 marks the 24th anniversary of Big Bad Voodoo Daddy’s remarkable arrival onto the music Secretary scene. Since its formation in the early nineties in Ventura, California, the band has toured virtually Eloise Cohen nonstop, performing on average over 150 shows a year, and has produced a sizable catalog of recorded music, with sales of over 2 million albums to date. Early on, during their legendary Judy Linton residency at the Derby nightclub in Los Angeles, they reminded the world that it was still cool to swing. The band, cofounded by singer Scotty Morris and drummer Kurt Sodergren, was at the forefront of the swing revival of that time, blending a vibrant fusion of the classic American sounds of jazz, swing, and dixieland, with the energy and spirit of contemporary culture. ◊ ◊ ◊ Big Bad Voodoo Daddy’s all original core line-up includes Scotty Morris (lead vocals and guitar), Kurt Sodergren (drums), Dirk Shumaker (double bass and vocals), Andy Rowley (baritone Barry McComb saxophone and vocals), Glen "The Kid" Marhevka (trumpet), Karl Hunter (saxophones and clarinet) Executive Director and Joshua Levy (piano and arranger). Jonathan Serret Big Bad Voodoo Daddy’s efforts to promote and revitalize swing music have taken shape as much Associate Director more than a simple tribute. Taking inspiration from the creators of this uniquely American art form, the band’s original horn-infused music and legendary high energy show introduces the genre to a new and younger generation while remaining cognizant and respectful of the music’s rich legacy. Single tickets are priced at $81-$36 with group discounts available. Tickets are available from Ticketmaster at 800-745-3000, online at www.ticketmaster.com, or through the Thousand Oaks Civic Arts Plaza Box Office, located at 2100 Thousand Oaks Boulevard. For more information call 805-449-ARTS (2787) or visit www.civicartsplaza.com. PRESS RESERVATIONS We welcome your review and coverage of this event. 2100 Thousand Oaks Blvd. To RSVP or obtain graphics, send your request to [email protected] Thousand Oaks California 91362 805/449-2700 Fax 805/2750 .

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Swing Is Back ... in Boerne!! Big Bad Voodoo Daddy at Boerne Performing Arts 2019
SWING IS BACK…IN BOERNE!! BOERNE, TX – March 24, 2019 – Boerne Performing Arts will close out their 2019 season swingin’ with Big Bad Voodoo Daddy. Since BBVD’s formation in the early nineties in Ventura, California, the band has toured virtually non-stop, performing an average of over 150 shows a year and sales of over 2 million albums to date. The band, cofounded by singer Scotty Morris and drummer Kurt Sodergren, was at the forefront of the swing revival of that time, blending a vibrant fusion of the classic American sounds of jazz, swing, and Dixieland, with the energy and spirit of contemporary culture. Ticket holders are coming from all four corners of Texas including Orange, Alpine, McAllen and Lubbock. Tickets for this event have been sold out since late February, but volunteers of Boerne Performing Arts are maintaining a “Wait List” in case any tickets are donated back to the organization. Big Bad Voodoo Daddy will arrive in Boerne to perform one evening show on Friday, April 5, at 7:30pm, at Champion Auditorium. Having performed at the Super Bowl, Macy’s Thanksgiving Day Parade, the late night show circuits, for three US Presidents, and with our country’s most distinguished symphony orchestras, their musicianship is well known throughout the world. The GVTC Foundation, Frost Bank, LoneStar Properties and The City of Boerne are sponsoring this evening performance as well as a student matinee for 1,000 local students. Thanks to their generosity, fourth grade students from Boerne ISD will attend a one-hour show at no cost to the students as part of the Boerne Performing Arts FOR KIDS program.
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Program Policy Brief 2019 Swingtime
Program Policy # 029 Approved on 18 July 2019 ARTSOUND FM PROGRAM BRIEF Program Title Swingtime Category Specialist Music Program Schedule 4-5pm Wednesday Brief Description The program’s core element is swing jazz from the recognised US big bands recorded from 1932 to 1946. The focus is on the bands, band leaders, arrangers, composers, prominent musicians and vocalists who led or shaped the Swing Era. Concept and Content The target audience is listeners with a love of jazz music in the Swing idiom and interest in the people who were significant in the Swing Era. The core of the program is US popular music recorded from 1932 to 1946, but any music that "swings" or music associated with the core is appropriate. Subsidiary themes include: • the evolution of jazz through the 1920s and early ‘30s and the early work of musicians, arrangers, band leaders, and composers whose work led to and typified the Swing Era; • Australian bands of all periods with a significant emphasis on swing music; • subsidiary groups (bands within the bands)composed of key big band members, typically led by the big band leader; • big bands, dance bands, and musicians outside the core swing band and Swing Era, including UK swing and hotel dance bands, gypsy swing, Latin swing, western swing, swing revival, and military bands; • post-swing particularly the evolution of swing bands and musicians and singers in this idiom; and • Themed programs, or featured artist, composer, or groups as part of programs. The program addresses general and re-emerging interest in Swing music and the 2 Swing Era.
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Midiri Brothers Sextet with Jeff Barnhart February 17, 2019 • John Winthrop Middle School
Midiri Brothers Sextet with Jeff Barnhart February 17, 2019 • John Winthrop Middle School This afternoon’s concert is co-sponsored by THE CLARK GROUP and TOWER LABORATORIES the 2019 stu ingersoll jazz concert Midiri Brothers Sextet A concert featuring the music of reed giants Benny Goodman, Jimmy Noone, Artie Shaw, Sidney Bechet, and more Paul Midiri, vibraphone Joseph Midiri, reeds Danny Tobias, jazz cornet, trumpet Pat Mercuri, guitar, banjo Jack Hegyi, bass Jim Lawlor, drums with special guest Jeff Barnhart, piano and vocals Selections will be announced from the stage 27 • Essex Winter Series Paul Midiri, co-leader, vibraphone Paul Midiri, along with his brother Joe, co-leads the 16 piece Midiri Brothers Orchestra as well as various small group ensembles. The Midiri Brothers Sextet performs jazz arrangements of standards, clasical music, as well as originals, many of them arranged by Paul. His many instrumental talents lend a special versatility to the Midiri Brothers unique sound. His specialty is jazz vibraphone with the sextet. Paul’s love of the vibes, and xylo- phone has led him to arrange numerous pieces for the sextet to give these instruments a proper setting. His extended virtuosity includes playing trombone and drums with the sextet where his brush work is often featured. Paul can be heard performing with the sextet across the country in many jazz festivals including the Sun Valley Jazz Jubilee, Pismo Jubilee By The Sea, the Capital city Jazz Fest as well as performer/clinician for the Sacramento Traditional Jazz Camp. Joseph Midiri, co-leader, reeds Joseph Midiri is an instrumentalist on the clarinet, alto, baritone and soprano saxophones.
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Big Bad Voodoo Daddy Discography
Big Bad Voodoo Daddy Discography 1 / 4 Big Bad Voodoo Daddy Discography 2 / 4 3 / 4 Information on Big Bad Voodoo Daddy. Complete discography, ratings, reviews and more. Stream songs before you buy.. Big Bad Voodoo Daddy - Rattle Them Bones (2012). Image could not be displayed. Check browser for compatibility. 01. The Adventures Of... Music video and lyrics - letras - testo of 'Mambo Swing' by Big Bad Voodoo Daddy. SongsTube provides all the best Big Bad Voodoo Daddy songs, oldies but .... The latest Tweets from big bad voodoo daddy (@BBVD). The official twitter for the band Big Bad Voodoo Daddy! Check out our updates from the road and find .... Alphabetical list of all songs by Big Bad Voodoo Daddy. SongsTube provides all the best Big Bad Voodoo Daddy songs, oldies but goldies tunes and legendary .... Big Bad Voodoo Daddy Swing group For the Record… Selected discography Sources Source for information on Big Bad Voodoo Daddy: Contemporary .... An as complete as possible discography for Big Bad Voodoo Daddy with tracklistings, lyrics and background info.. Big Bad Voodoo Daddy - Big Bad Voodoo Daddy - Amazon.com Music. ... Rattle Them Bones by Big Bad Voodoo Daddy Audio CD $13.69. Only 20 left in stock .... How Big Can You Get?: The Music of Cab Calloway. 2009. How Big Can You Get?: The Music of Cab Calloway · Big Bad / Vanguard · Rattle Them Bones. 2012.. ... Merchandise Store!! Check out the new Big Bad Voodoo Daddy web store at the link below, and take advantage of the sale items and new items available!. Big Bad Voodoo Daddy discography and songs: Music profile for Big Bad Voodoo Daddy, formed 1989.
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From King Records Month 2018
King Records Month 2018 = Unedited Tweets from Zero to 180 Aug. 3, 2018 Zero to 180 is honored to be part of this year's celebration of 75 Years of King Records in Cincinnati and will once again be tweeting fun facts and little known stories about King Records throughout King Records Month in September. Zero to 180 would like to kick off things early with a tribute to King session drummer Philip Paul (who you've heard on Freddy King's "Hideaway") that is PACKED with streaming audio links, images of 45s & LPs from around the world, auction prices, Billboard chart listings and tons of cool history culled from all the important music historians who have written about King Records: “Philip Paul: The Pulse of King” https://www.zeroto180.org/?p=32149 Aug. 22, 2018 King Records Month is just around the corner - get ready! Zero to 180 will be posting a new King history piece every 3 days during September as well as October. There will also be tweeting lots of cool King trivia on behalf of Xavier University's 'King Studios' historic preservation collaborative - a music history explosion that continues with this baseball-themed celebration of a novelty hit that dominated the year 1951: LINK to “Chew Tobacco Rag” Done R&B (by Lucky Millinder Orchestra) https://www.zeroto180.org/?p=27158 Aug. 24, 2018 King Records helped pioneer the practice of producing R&B versions of country hits and vice versa - "Chew Tobacco Rag" (1951) and "Why Don't You Haul Off and Love Me" (1949) being two examples of such 'crossover' marketing.
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D:\Scores\Go Daddy-O (10 Piece) Parts\01 Alto Saxophone.Sib
Alto Saxophone Big Bad Voodoo Daddy Go Daddy-O Trans. Shaun Evans q = 220 (Swinger) A 4 2 Go Dad-O! dy - 11 2 Go Dad-O! dy- Go Dad-O! dy- B C 18 11 mf 33 37 D 41 3 3 46 3 E F 51 2 12 10 3 f G 78 3 3 f ff Copyright ©2005 -- Shaun Evans -- WWW.SHAUNEVANS.COM Alto Saxophone 2 H 82 5 mf f 92 mp 96 4 mf f I 102 2 2 Go Dad-O! dy - Go 109 2 Dad-O! dy - Go Dad-O! dy - J 114 mf 119 2 1. 2. 123 2 2 Alto Saxophone 3 K L 129 11 mf 144 148 M 152 3 f (On Cue) 154 3 3 ff Big Bad Voodoo Daddy Bass Go Daddy-O Trans. Shaun Evans q = 220 (Swinger) A 4 2 5 Go Dad-O! dy- B 16 Bb7 Go Dad-O! dy - mf 21 E9 Bb7 C 26 F9 Bb7 Bb7 31 E9 Bb7 37 F9 Bb7 D 42 Bb7 Eb7 Bb7 Eb7 48 Bb7 F7sus F9 Bb7 E 53 57 Copyright ©2005 -- Shaun Evans -- WWW.SHAUNEVANS.COM Bass 2 61 F 65 Bb7 f 70 Eb9 Bb7 F7sus G 75 F9 Bb7 f H 80 Bb%/D Eb9 Bb7 ff f 85 Cm7 F9 Bb% Gm7(b9) Cm9 F9 90 Bb9 Eb9 Bb% Bb7 Bb7(#5) Eb9 95 Bb9 F7sus F9 I 100 Bb7 Go 105 2 2 Dad-O! dy- Go Dad-O! dy- Go Bass J 3 113 Dad-O! dy- 118 Eb7 Bb7 F7sus 1.
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What We've Made of Louis Prima John J
Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 1-1-2005 Taming the Wildest: What We've Made of Louis Prima John J. Pauly Marquette University, [email protected] Published version. "Taming the Wildest: What We've Made of Louis Prima," in Afterlife as Afterimage: Understanding Posthumous Fame. Eds. Steve Jones and Joli Jensen. New York: Peter Lang International Academic Publishers, 2005: 191-208. Publisher Link. © 2005 Peter Lang International Academic Publishers. Used with permission. chapter 1 O Taming the Wildest What We've Made of Louis Prima jOHN j. PAULY For over forty years, Louis Prima had survived one change after another in the pop~ ular music business. He was, in succession, a trumpet section player in his home~ town ofNew Orleans, the front man for a popular New York City jazz quintet, and the leader of a touring big band. In the 1950s, with his career flagging, he reinvent~ ed himself as a spectacular Las Vegas lounge act, then nudged his career through the 1960s with help from his old friend, Walt Disney. He explored many forms of popular music along the way, but aspired only, in his own words, to "play pretty for the people." The same man who wrote the jazz classic "Sing, Sing, Sing," would also record easy listening instrumental music, Disney movie soundtracks, and ltalian~American novelty songs. In all these reincamations, he performed with an exuberance that inspired his Vegas nickname, "the wildest." Prima's career would end in deafening silence, however. He spent the last thirty~five months of his life in a coma, following a 197 5 operation in which doctors partially removed a benign tumor from his brain stem.
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Genre, De Muziekstijl, Stemming Van De Muziek En De Instrumentatie Die Een Bepaalde Artiest Uitoefende
Een Sociaal Netwerk Onder Muziekartiesten: Een analyse van het sociaal netwerk van muzikanten en daaraan verbonden muzikale kenmerken Gegevens student B.J.G.M. Kuppens Corporate Communication & Digital Media Universiteit van Tilburg [email protected] Begeleiding dr. J. J. Paijmans Faculteit Geesteswetenschappen dpt. Comm.‐ Infor.wetensch [email protected] 1 Abstract Dit onderzoek verdiept zich in de structuur van het sociaal netwerk van muziekartiesten. Wat onderzocht wordt, is of er binnen dit sociaal netwerk een zogenaamde power law verdeling te ontdekken valt. Dit is interessant vanwege de maatschappelijke relevantie van power law structuren in de samenleving. Om dit vast te stellen is er gekeken naar wie de meest invloedrijke artiesten zijn en van wie er de meeste nummers gecoverd zijn. De verwachting is dat er relatief weinig artiesten zijn met relatief veel invloed op medeartiesten, en overeenkomstig staan veel artiesten die weinig invloed hebben op hun medeartiesten. Hetzelfde fenomeen wordt verwacht bevestigd te worden voor gecoverde nummers. Nadat is gebleken dat de structuur van het sociaal netwerk onder muziekartiesten daadwerkelijk de kenmerken vertoont van een power law verdeling, is er vervolgens nog gekeken naar een viertal muzikale kenmerken van de meest invloedrijke artiesten gevonden tijdens dit onderzoek. Het betreft het genre, de muziekstijl, stemming van de muziek en de instrumentatie die een bepaalde artiest uitoefende. Ook van deze variabelen is er een frequentieverdeling gemaakt en is er gekeken of er op een power law gelijkende verdeling is. Dit bleek alleen bij de variabelen genre en instrumentatie het geval te zijn. Muziekstijl in mindere mate en wat stemming betreft zijn er geen dominante items gevonden.
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Approaching the Jazz Past: MOPDTK's Blue and Jason Moran's
Journal of Jazz Studies vol. 11, no. 2, pp. 1-28 (2016) Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959” Tracy McMullen “Polemical traditions seem to valorize the literal” -Henry Louis Gates In October 2014, the jazz group Mostly Other People Do the Killing released their seventh album, Blue, a “painstakingly realized, note-for-note” re- performance of the classic 1959 album by the Miles Davis Sextet, Kind of Blue. Some jazz critics have described this album as “ingenious and preposterous” and “important.”1 Many of my fellow jazz scholars have been intrigued, wondering just how closely these artists come to re-performing the nuances of Miles or Coltrane or Evans. I have been far less impressed or intrigued. MOPDTK’s album is the product of a long Western tradition of understanding the art object, the artist, and history. Far from preposterous, ingenious, or even new, I argue this album is a stark example of comprehending jazz via a Western epistemology that informs “classical music” rather than, as one reviewer argues, a critique of this tendency. Using the 1939 Jorge Luis Borges story the band offers as liner notes as my pivot point, I argue that MOPDTK assumes an epistemology that privileges objectivity and an obsession with naming while suspecting the subjec- tive and what cannot be named. In an obtuse reading of the Borges story, bassist and bandleader Moppa Elliott asserts that we must have a new object in order to re-read the old one. An obsession with naming (that is, locating boundaries) breeds a fascination with difference, which is then found in a predictable place: racial difference.
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Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
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The Strutter
The Strutter VOLUME 31 NUMBER 10 Traditional Jazz in the Philadelphia Tri-State Area June 2021 June is ANOTHER Big Month for Tri-State Jazz! Dan Levinson’s Palomar Jazz Band with Molly Ryan Sunday, June 6, 2021 at 2:00 pm Live Stream Event See details on page 2 Photo by Aida Grant Ben Mauger’s Vintage Jazz Band Sunday, June 20, 2021 at 2:00 pm Jazz Picnic on the Lawn* and Live Stream Event Community Arts Center, Wallingford, PA *Weather permitting See details on page 5 Take a look at our NEW Tri-State Jazz Society website! The Strutter is published by Tri-State Jazz Society, Inc. - P.O. Box 896 - Mt. Laurel, NJ 08054 1 Dan Levinson’s Palomar Jazz Band with Molly Ryan Sunday, June 6, 2021 at 2:00 pm Live Stream Event Visit Dan Levinson's website Band Personnel Dan Levinson – Clarinet, Saxophones, Leader View selections on YouTube Molly Ryan – Vocals, Guitar Mike Davis – Trumpet, Cornet “Farewell Blues” Jim Fryer – Trombone Dalton Ridenhour – Piano “It’s a Sin to Tell a Lie” Rob Adkins - Bass Kevin Dorn – Drums “Livery Stable Blues”, Essex Winter Series, 2017 “Original Dixieland One-Step”, Essex Winter Series, 2017 Dan Levinson’s Palomar Jazz Band with Molly Ryan in Washington Square Park Dan Levinson brings us his Palomar Jazz Band with Molly Ryan for this streaming-only concert. As usual, Dan is assembling the cream of New York City's flourishing hot jazz scene, resulting in a magical chemistry replete with creativity and excitement. These performers blend the raucous, freewheeling sounds of the Jazz Age with the alluring, hypnotic beat of the Swing Era.
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“Right to Refusal”: Practices of Consent in the Pittsburgh Swing Dance Community
Title Page “Right to Refusal”: Practices of Consent in the Pittsburgh Swing Dance Community by Hannah Standiford Bachelor of Music, Virginia Commonwealth University, 2011 Submitted to Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2020 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Hannah Standiford It was defended on April 29th, 2020 and approved by Dr. Andrew Weintraub (advisor) Professor, Music Dr. Adriana Helbig, Associate Professor, Music Dr. Michael Heller, Associate Professor, Music ii Copyright © by Hannah Standiford 2020 iii Abstract “Right to Refusal”: Practices of Consent in the Pittsburgh Swing Dance Community Hannah Standiford, MA University of Pittsburgh, 2020 In 2015, professional swing dancer Steven Mitchell was outed online by several women as a serial sexual abuser and was ostracized from the swing dance community both within the United States and globally. The first woman to share her story was Sarah Sullivan and her blog post detailing her sexual assault has been translated into at least seven languages. Within a week, swing dance organizers began having conversations online, leading to changes in practices of consent and the promotion of safer spaces during dance events. While etiquette of the swing dance revival starting in the mid-1980s dictated that dancers should say “yes” to any dance, current practices have shifted to encourage dancers to feel empowered to say “no” for any reason. This thesis joins a small but growing body of literature on social dance in the field of ethnomusicology and other fields including dance and performance studies.
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