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Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado 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 Associate Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: 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 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, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
APRIL 1995 R!' a ! DY April 1995 Number 936
APRIL 1995 R!' A ! DY April 1995 Number 936 I Earthquake epicen.,.s -IN THE SEA ?ABOVE THE SEA 4 The wave 22Weather prediction 6 What's going on? 24What is El Nino? 8 Knowledge is power 26Clouds, typhoons and hurricanes 10 Bioluminescence 28Highs, lows and fronts 11 Sounds in the sea 29Acid rain 12 Why is the ocean blue? 30 Waves 14 The sea floor 31The Gulf Stream 16 Going with the floe 32 The big picture: blue and littoral waters 18 Tides *THE ENVIRONMENT 34 TheKey West Campaign 19 Navyoceanographers 36 What's cookin' on USS Theodore Roosevek c 20Sea lanes of communication 38 GW Sailors put the squeeze on trash 40 Cleaning up on the West Coast 42Whale flies south after rescue 2 CHARTHOUSE M BEARINGS 48 SHIPMATES On the Covers Front cover: View of the Western Pacific takenfrom Apollo 13, in 1970. Photo courtesy of NASA. Opposite page: "Destroyer Man,"oil painting by Walter Brightwell. Back cover: EM3 Jose L. Tapia aboard USS Gary (FFG 51). Photo by JO1 Ron Schafer. so ” “I Charthouse Drug Education For Youth program seeks sponsors The Navy is looking for interested active and reserve commandsto sponsor the Drug Education For Youth (DEFY) program this summer. In 1994, 28 military sites across the nation helped more than 1,500 youths using the prepackaged innovative drug demand reduction program. DEFY reinforces self-esteem, goal- setting, decision-making and sub- stance abuse resistance skills of nine to 12-year-old children. This is a fully- funded pilot program of theNavy and DOD. DEFY combines a five to eight- day, skill-building summer camp aboard a military base with a year-long mentor program. -
May-June 293-WEB
May-June 2007 Issue 293 jazz Free &blues report www.jazz-blues.com now in our 33rd year KOKO TAYLOR KOKO TAYLOR Old School Published by Martin Wahl A New CD... Communications On Tour... Editor & Founder Bill Wahl & Appearing at the Chicago Blues Festival Layout & Design Bill Wahl The last time I saw Koko Taylor Operations Jim Martin she was a member of the audience at Pilar Martin Buddy Guy’s Legends in Chicago. It’s Contributors been about 15 years now, and while I Michael Braxton, Mark Cole, no longer remember who was on Kelly Ferjutz, Dewey Forward, stage that night – I will never forget Chris Hovan, Nancy Ann Lee, Koko sitting at a table surrounded by Peanuts, Wanda Simpson, Mark fans standing about hoping to get an Smith, Dave Sunde, Duane Verh, autograph...or at least say hello. The Emily Wahl and Ron Weinstock. Queen of the Blues was in the house that night...and there was absolutely Check out our costantly updated no question as to who it was, or where website. Now you can search for CD Reviews by artists, titles, record she was sitting. Having seen her elec- labels, keyword or JBR Writers. 15 trifying live performances several years of reviews are up and we’ll be times, combined with her many fine going all the way back to 1974. Alligator releases, it was easy to un- derstand why she was engulfed by so Koko at the 2006 Pocono Blues Festival. Address all Correspondence to.... many devotees. Still trying, but I still Jazz & Blues Report Photo by Ron Weinstock. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard. -
Virginian Writers Fugitive Verse
VIRGIN IAN WRITERS OF FUGITIVE VERSE VIRGINIAN WRITERS FUGITIVE VERSE we with ARMISTEAD C. GORDON, JR., M. A., PH. D, Assistant Proiesso-r of English Literature. University of Virginia I“ .‘ '. , - IV ' . \ ,- w \ . e. < ~\ ,' ’/I , . xx \ ‘1 ‘ 5:" /« .t {my | ; NC“ ‘.- ‘ '\ ’ 1 I Nor, \‘ /" . -. \\ ' ~. I -. Gil-T 'J 1’: II. D' VI. Doctor: .. _ ‘i 8 » $9793 Copyrighted 1923 by JAMES '1‘. WHITE & C0. :To MY FATHER ARMISTEAD CHURCHILL GORDON, A VIRGINIAN WRITER OF FUGITIVE VERSE. ACKNOWLEDGMENTS. The thanks of the author are due to the following publishers, editors, and individuals for their kind permission to reprint the following selections for which they hold copyright: To Dodd, Mead and Company for “Hold Me Not False” by Katherine Pearson Woods. To The Neale Publishing Company for “1861-1865” by W. Cabell Bruce. To The Times-Dispatch Publishing Company for “The Land of Heart‘s Desire” by Thomas Lomax Hunter. To The Curtis Publishing Company for “The Lane” by Thomas Lomax Hunter (published in The Saturday Eve- ning Post, and copyrighted, 1923, by the Curtis Publishing 00.). To the Johnson Publishing Company for “Desolate” by Fanny Murdaugh Downing (cited from F. V. N. Painter’s Poets of Virginia). To Harper & Brothers for “A Mood” and “A Reed Call” by Charles Washington Coleman. To The Independent for “Life’s Silent Third”: by Charles Washington Coleman. To the Boston Evening Transcript for “Sister Mary Veronica” by Nancy Byrd Turner. To The Century for “Leaves from the Anthology” by Lewis Parke Chamberlayne and “Over the Sea Lies Spain” by Charles Washington Coleman. To Henry Holt and Company for “Mary‘s Dream” by John Lowe and “To Pocahontas” by John Rolfe. -
Paquito D' Rivera
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PAQUITO D’RIVERA NEA Jazz Master (2005) Interviewee: Paquito D’ Rivera (June 4, 1948 - ) Interviewer: Willard Jenkins with recording engineer Ken Kimery Date: June 11, 2010 and June 12, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 68 pp. Willard: Please give us your full given name. Paquito: I was born Francisco Jesus Rivera Feguerez, but years later I changed to Paquito D’Rivera. Willard: Where did Paquito come from? Paquito: Paquito is the little for Francisco in Latin America. Tito, or Paquito Paco, it is a little word for Francisco. My father’s name was Francisco also, but, his little one was Tito, like Tito Puente. Willard: And what is your date of birth? Paquito: I was born June 4, 1948, in Havana, Cuba. Willard: What neighborhood in Havana were you born in? Paquito: I was born and raised very close, 10 blocks from the Tropicana Cabaret. The wonderful Tropicana Night-Club. So, the neighborhood was called Marinao. It was in the outskirts of Havana, one of the largest neighborhoods in Havana. As I said before, very close to Tropicana. My father used to import and distribute instruments and accessories of music. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Willard: And what were your parents’ names? Paquito: My father’s name was Paquito Francisco, and my mother was Maura Figuerez. Willard: Where are your parents from? Paquito: My mother is from the Riento Province, the city of Santiago de Cuba. -
Austin, Lil Armstrong, Mary Lou Wil- Suggests That Brackeen Plays Best in Good the Lack of a Live Audience to Respond to Liams, Marian Mcpartland, and Toshiko Company
ART BLAKEY AND THE JAZZ MES- SENGERS: Reflections in Blue. Art Blakey (drums);Valerie Ponomarev (trumpet); Robert Watson (alto saxophone); David Schnitter (tenor saxophone); Dennis Irwin (bass); James Williams (piano). E.T.A.; Mishima; Ellington Medley; My Foolish Heart; and four others. TimELEss/MusE TI 317 $7.98. Performance:Fresh Recording:Deadened Decades come and decades go, but Art Bla- instrumentalists, especially pian-interfere with her solo playing on Pausa's key continues to run that hotbed of new tal- FEMALEists, have actively contributed to jazz"Mythical Magic" album. I don't mean toent called the Jazz Messengers. This latest since it first took on a recognizable form, dismiss JoAnne Brackeen as a solo force, Blakey release was recorded in Holland to- but it was not until the late Seventies- for it could simply be that the atmosphere ward the end of 1978, with the same person- when the feminist movement made us take at the MPS studio in Germany's Black For- nel as "In This Corner," the excellent set a retrospective look at sexism and other est hampered her spirit (many fine artists released by Concord Jazz last year. Unlike forms of discrimination-that the public at havegivendisappointingperformances that set-a live recording from a San Fran- large discovered the extent of that contribu- there for some reason), but a comparison of cisco club-this one was made in a studio, tion. JoAnne Brackeen stands out in the "Mythical Magic" with either "Prism" orbut not, I'm afraid, a first-class one; the long line of distinguished women pianist/ "Keyed In" (where she is aided by Gomez sound lacks the resiliency of a studio de- composers, which today includes Lovieand drummer Jack DeJohnette) strongly signed with regard for acoustics. -
October 1, 1992 Cal Poly Report
CAL POLY REPORT California Polytechnic State University, San Luis Obispo Vol. 48, No. 4, Oct. 1, 1882 State budget includes The Golden Handshake gives Arts Center funds faculty employees who retire bet ween Aug. 15 and Oct. 3 an addi After decades of hopes, dreams tional four years of service credit. and dedicated work, a San Luis Staff and administrative employees Obispo Performing Arts Center is must retire between Aug. 27 and now really going to happen: Cal Oct. 31 to be eligible for an addi Poly's $14-million share of con tional two years of credit. struction funds is included in the two-month-late state budget. Groundbreaking for the $25 Retirees can volunteer to teach million center is expected next Reversing a previously an spring, with an anticipated nounced restriction, legislation has mid-1995 opening. been passed to allow newly retir Inclusion of the money in the ing faculty members to teach vol untarily after retirement without state budget removed the last ma Vic Buccola jor obstacle between planning and losing the extra service credit. reality for the state-of-the-arts Faculty members taking the 1992 Buccola recognized facility, a joint project of Cal Poly, Golden Handshake still may be the city of San Luis Obispo, and paid only if their employment is for 30 years' service the private Foundation for the Per necessary to preserve tli.e academic (One in a series of articles recognizing forming Arts Center. The founda integrity of a department or pro longtime employees) gram; otherwise the extra benefits tion is well on its way to raising Vic Buccola came to Cal Poly as a $7.2 million for construction plus will be forfeited. -
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 -
Downbeat.Com November 2015 U.K. £4.00
NOVEMBER 2015 2015 NOVEMBER U.K. £4.00 DOWNBEAT.COM DOWNBEAT JOHN SCOFIELD « DEE DEE BRIDGEWATER « AARON DIEHL « ERIK FRIEDLANDER « FALL/WINTER FESTIVAL GUIDE NOVEMBER 2015 NOVEMBER 2015 VOLUME 82 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall Editorial Intern Baxter Barrowcliff 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 Sam Horn 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, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: 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; -
Sunrise Senior Living Jazz Festival Debuts in Saddle River Former Blue Note President Hosts Parkinson’S Fundraiser
Volume 42 • Issue 9 October 2014 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Joe Lovano’s solo gets a rise out of former Blue Note Records President Bruce Lundvall, right, during the closing jam at the August 24 Sunrise Senior Living Jazz Festival that also featured Javon Jackson, second from left, and Ravi Coltrane. Photo by Mitchell Seidel. Sunrise Senior Living Jazz Festival Debuts in Saddle River Former Blue Note President hosts Parkinson’s fundraiser. See story and photos on page 28. New JerseyJazzSociety in this issue: New JerSey Jazz SocIety Prez Sez. 2 Bulletin Board ......................2 NJJS Calendar ......................3 Jazz Trivia .........................4 The Mail Bag .......................4 Editor’s Pick/Deadlines/NJJS Info .......6 Prez Sez Crow’s Nest. 50 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/Join NJJS. 51 October Jazz Social. 52 n August 16, 2014, the 4th annual Jazz and was observed in the form of remarks delivered by NJJS/Pee Wee T-shirts. 52 New/Renewed Members ............53 OBlues Festival was held on the Green in the a number of political leaders, and most of the jazz StorIeS center of Morristown, New Jersey. For the second musicians had a connection with New Jersey as a Sunrise Senior Living Jazz Festival. ...cover year, I was asked by Don Jay and Linda Smith, the present or former residence. The festival was Big Band in the Sky ..................8 producers, to emcee the jazz portion of this event. made possible by contributions from various Litchfield Jazz Festival.