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WSO Holidays Newslet
The content in this preview is based on the last saved version of your email - any changes made to your email that have not been saved will not be shown in this preview. Williamsport Symphony Orchestra Newsletter November 2013 2013-2014 Calendar Conductor's Corner 24 Billtown Brass Holiday Concert Community Arts Center 7:00 pm Dear Friends, December 2013 Our October concert was a great 02 Meet the Maestro start for the season! The Capitol Lounge of CAC orchestra played beautifully, we 5:30 -7 pm had a first rate guest artist and a 03 WSO Time to Rejoice! very enthusiastic audience. I am Community Arts Center very proud of our musicians and 7:30 pm can't wait for the next concerts. February 2014 As the holidays are approaching, 10 Meet the Maestro a different type of music is ringing in my ears. From Capitol Lounge of CAC 5:30 -7 pm festive to solemn, entertaining to profound, it's definitely music for everyone. I was lucky to be in Dublin several 11 WSO Fantastic Tales years ago and visit the church where Handel's Messiah was Community Arts Center 7:30 pm premiered in 1742. I was moved to be in that place. Although it took one year until it was performed in London 23 Close Up Concert # 2 and other places, this piece become a staple of the holiday Mary Lindsay Welch Honors Hall, Lycoming season and one of the most performed oratorios of all College time. We have chosen selections from it including the 3:00 pm famous "Hallelujah" chorus accompanied by the wonderful 23 Williamsport Symphony Williamsport High School Choir and four excellent soloists Youth Orchestra (WSYO) from the area. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally. -
The Microscopic Septet the History of the Micros, Vol
Excerpts from what the press has said recently about the Microscopic Septet: THE MICROSCOPIC SEPTET THE HISTORY OF THE MICROS, VOL. 1: SEVEN MEN IN NECKTIES CD 2006 CUNEIFORM THE HISTORY OF THE MICROS, VOL. 2: SURREALISTIC SWING CD 2006 CUNEIFORM “DownBeat: Best CDs of 2007: Historical Microscopic Septet, Seven Men in Neckties: History of the Micros Volume One, Cuneiform, 4 1/2 stars/5: June Issue Microscopic Septet, Surrealistic Swing: History of the Micros Volume Two, Cuneiform, 4 stars/5: June Issue” – “Best CDs of 2007”, DownBeat, January 2008, Vol. 75, No. 1 “…during their run from 1980-’90, they managed to record four albums of seminal, brilliant post-modern jazz as well as their best-known piece, the “Fresh Air Theme,” heard daily on NPR stations for more than 15 years now. All of this material plus previously unreleased tracks are on these two double-CDs, handsomely packaged with liner notes by co-leader Phillip Johnston, now-and-then photos of the band and cover art by Art Spiegelman. The Septet…was a laboratory for experimentation for composers Johnston…and pianist Joel Forrester. Mixing the influences of the great early big band arrangers like Fletcher Henderson and Duke Ellington with the zaniness of Raymond Scott and Captain Beefheart, the edginess of Thelonius Monk and Charles Mingus with the theatrics and exploration of Sun Ra and the Art Ensemble of Chicago, and with references from “Hey Jude” to “Harlem Nocturne,” the Micros were dedicated to jazz that swung and was endlessly fun and inventive. Volume One is superior because of the youthful up-all-night sense of discovery and sheer joy found on both their first studio album and only live recording. -
Liebman Expansions
MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world. -
Lou Donaldson
BIO LOU DONALDSON --------------------------------------- "My first impulse is always to describe Lou Donaldson as the greatest alto saxophonist in the world." -- Will Friedwald, New York Sun Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, had found his sound, though it would continue to sweeten over the years -- earning him his famed nickname --“Sweet Poppa Lou.” He made a series of classic records for Blue Note Records in the 50’s and takes pride in having showcased many musicians who made their first records as sidemen for him: Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Ray Barretto, Horace Parlan, John Patton, Charles Earland, Al Harewood, Herman Foster, Peck Morrison, Dave Bailey, Leon Spencer, Idris Muhammad, and others. After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. Lou’s hits on the label are still high demand favorites and, today at age 93, he is its oldest musician from that notable era of jazz. Though now retired, Lou continues to receive applause from fans worldwide who call and write to tell him how much they enjoy his soulful, thoroughly swinging, and steeped in the blues appearances over the years and still love listening to his recordings. Lou is the recipient of countless honors and awards for his significant contributions to jazz — America’s “classical music.”. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright 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. -
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. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Album Releases Feb. Album Releases
) —— — ) ) — )) ) ) —— ALBUM RELEASES FEB. ALBUM RELEASES llllll!llllll!llll!l!llll!llll!llillllll!llllll!!l!llllll!lll!IIIII!lllll , , CORAL “Al Casey Quartet” —Moodsville Vol. 12 SAVOY “Midnight Special”— Al Smith — Bluesville 1013 “No More In Life” — Mildred Anderson— Bluesville POPULAR Pete Fountain’s French Quartet New Orleans” “The Fabulous Jimmy Scott”—#121 50 ( M 1017 CRL-57359(M) CRL-757359(S) 1 1 ( — “Candy And Big Maybelle” — # 401 M “Just Blues” —Memphis Slim —Bluesville 1018 Songs Everybody Knows” Teresa CRL- — Brewer— Lightning”-— Lightning Hopkins Bluesville 1019 — | 57361 (M) CRL-757361 — (S) Bud Freeman All Stars w/Shorty Baker”—Swing- Royal Caledonian Pipe Band” Pipe Major- ABC—PARAMOUNT — vill 2012 David Fairweather CRL-57318(M) TELEFUNKEN — Stasch”—Coleman Hawkins w/Prestige Blues The Irish World of Patrick O’Hagan” CRL-57316 “Dedicated To You” Ray Charles ABC-355(M) — Swingers Swingville 2013 — — (M) “Music For Lovers”—Werner Muller and His Or- — ABCS-3551S) Tate-A-Tate” —Buddy Tate w/Clark Terry Swing- ‘Come All Ye’s And Other Irish Songs” Pat Har- chestra—TP-251 6(M)—TPS-1 251 6(S) — “The Giants of Flamenco’’ Montoya & Sabicas — ville 2014 — rington— CRL-57367(M) “Beer ’N Brass” —Bohemian Polkas & Waltzes ABC-357IM) The Best of Ewan MacColl” — Prestige Int’l. 13004 ‘Irish Show Boat”—The McNulty Family—CRL- Ernst Mosch & His Bohemian Band—TP-251 5(M) “Adventures In Paradise (Vol. II)’’ Various Art- The Best of Peggy Seeger” Prestige Int'l. — 57368(M) — 13005 ists—ABC-3581 M) —ABCS-358(S) Jeannie Robertson—World’s Greatest Folk Singer” ‘Irish Jigs And Reels”—Michael Coleman CRL- “Big 15 Various Artists ABC-359(M) — —Prestige Int’l.