DOCSLIB.ORG

Melodic Jazz Drumming

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melodic Jazz Drumming MELODIC JAZZ DRUMMING by Jonathan David McCaslin A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto Copyright by Jonathan McCaslin 2015 ii MELODIC JAZZ DRUMMING by Jonathan David McCaslin Doctor of Musical Arts Faculty of Music University of Toronto 2015 ABSTRACT This dissertation examines and explores how jazz drummers consider the concept of “melodic drumming” and how it relates to their own personal performance practice. The drum set, in the context of jazz music, can easily be considered a primarily rhythmic instrument by its very nature. It is, nevertheless, worthwhile and necessary to discuss the significance of how jazz drummers consider other musical elements in their own personal style. An overall musical approach to the drum set is recognized and encouraged, but the term and concept of playing “melodically” is also important. However, an exact definition of this idea is difficult to absolutely define. The definition and application of a melodic approach to jazz drumming is often as unique as the individual who chooses to either define or apply it. For the purpose of this research, the question of how jazz drummers incorporate and consider melody in their own playing was determined through a series of extensive interviews with contemporary jazz drummers. The interviews also explore how melody is viewed in the larger scope of jazz drumming. The findings from these interviews, combined with various other available sources, were then compared with the findings further organized, compared and discussed. iii In addition to the importance of playing the drums with an overall musical agenda, jazz drummers also describe using melody on the drum set in the context of being both an accompanist and a soloist. This includes very literal expressions of melodic structures on the drum set to more conceptual (and perhaps less obvious) applications. Many drummers also explored how melody can be an effective tool in pedagogical applications. Furthermore, many jazz drummers also discussed their sources of melodic influence. Jazz drummer Max Roach figured quite prominently in many of these interviews and his contributions and stylistic relationship to melodic drumming are also discussed. iv ACKNOWLEDGEMENTS I would like to take this opportunity to thank the following people whose help and assistance were invaluable in making this project come to light: My thesis supervisor, Dr. Russell Hartenberger, and dissertation committee members, Dr. John Brownell and Prof. Terry Promane, for their insight and guidance. Special thanks to Prof. Paul Read for his instrumental role in setting up the DMA program at the University of Toronto and for initially encouraging me to pursue my academic studies at the doctoral level. Thank you to Adam Nussbaum, Matt Wilson, Kenny Washington, Joey Baron, Lewis Nash, Billy Martin, Barry Elmes, Dennis Mackrel, Ian Froman, Ali Jackson Jr., Peter Erskine, John Riley, Billy Drummond, John Ramsay, Yoron Israel, Bob Gullotti, Jason Marsalis, Nasheet Waits, Carl Allen, Dan Weiss and Joe LaBarbera for so generously and openly sharing their thoughts, ideas, opinions and personal experiences related to jazz drumming. My doctoral colleagues at the University of Toronto: Dr. Tom Van Seters, Dr. Patrick Boyle and Dr. Mark Duggan for their collaboration, encouragement and fellowship. A very special thank you to my family: My parents David and Roberta, my wife Chandra Thomas and son Seamus. Without their patience and unwavering support, this paper would never have been completed. v TABLE OF CONTENTS ABSTRACT ...........................................................................................................................ii ACKNOWLEDGEMENTS.................................................................................................. iv TABLE OF CONTENTS....................................................................................................... v LIST OF FIGURES.............................................................................................................. ix LIST OF APPENDICES........................................................................................................ x INTRODUCTION ................................................................................................................. 1 1.1 THE THESIS........................................................................................... 1 1.2 WHAT DOES MELODIC DRUMMING MEAN?................................... 2 1.3 WHAT IS MELODY? ............................................................................. 3 1.4 APPLYING MELODY AS A DRUMMER.............................................. 9 1.5 METHODOLOGY ................................................................................ 15 1.6 LITERATURE REVIEW....................................................................... 19 CHAPTER 1 WHY IS MELODY IMPORTANT? ................................................... 29 1.1 THE FOUNDATION............................................................................. 29 CHAPTER 2 THE MELODIC DRUMMER AS AN ENSEMBLE PLAYER ......... 38 2.1 MELODY AS A REFERENCE POINT................................................. 38 2.2 ORCHESTRATION AND ARTICULATION AS MELODY ................ 42 2.3 COUNTERPOINT AS MELODY.......................................................... 47 2.4 SUMMARY........................................................................................... 52 CHAPTER 3 THE DRUMMER AS MELODIC SOLOIST..................................... 55 3.1 MELODIC DRUMMING = PLAYING PITCHES ON THE DRUMS?............................................................................... 55 3.2 EXPRESSING MELODY ON THE DRUMS........................................ 62 3.3 THE USE OF FORM............................................................................. 64 vi 3.4 LINEAR DRUMMING.......................................................................... 66 3.5 IMPROVISING OVER STRUCTURES AND THE USE OF REPETITION.................................................................. 68 3.6 DYNAMICS AND STICKING PATTERNS ......................................... 72 3.7 ROY HAYNES - “IN WALKED BUD” ................................................ 75 3.8 MAKING MUSICAL CONNECTIONS ................................................ 79 3.9 SUMMARY........................................................................................... 84 CHAPTER 4 MAX ROACH...................................................................................... 87 4.1 THE INFLUENCE OF MAX ROACH .................................................. 87 4.2 MAX ROACH’S MELODIC SOLO STYLE ......................................... 92 4.3 SOLO DRUM SET COMPOSITIONS................................................... 97 4.4 INFLUENCES....................................................................................... 98 4.5 “CONVERSATION”........................................................................... 100 4.6 SUMMARY......................................................................................... 107 CHAPTER 5 MANIPULATING THE PITCHES OF THE DRUMS.................... 109 5.1 THE PERCUSSIVE ROOTS OF THE MANIPULATION OF PITCH............................................................. 110 5.2 JEFF HAMILTON’S MELODIC APPROACH TO “A NIGHT IN TUNISIA”.................................................................... 114 5.3 ARI HOENIG – A METHOD TO PLAYING MELODIES ON THE DRUMS ...................................................................................... 118 5.4 FOUR DIFFERENT PARTS OF MELODIC DRUMMING ................ 119 5.5 HOW TO START PLAYING A MELODY......................................... 120 5.6 PLAYING A MELODY ON THE DRUMS USING CONTOUR......... 122 5.7 PLAYING ACTUAL PITCHES .......................................................... 124 5.8 TUNING.............................................................................................. 127 5.9 REACTIONS AND CRITICISM......................................................... 128 vii 5.10 SUMMARY......................................................................................... 130 CHAPTER 6 MELODIC DRUM SET PEDAGOGY ............................................. 132 6.1 ALAN DAWSON AND MUSICAL DRUM SET PEDAGOGY.......... 133 6.2 SING A SONG .................................................................................... 140 6.3 LEARNING INSTRUMENTAL SOLOS............................................. 147 6.4 BIRD SONGS – THE INFLUENCE OF CHARLIE PARKER ............ 149 6.5 HARMONIC AWARENESS............................................................... 157 6.6 SUMMARY......................................................................................... 162 CHAPTER 7 MELODIC INFLUENCES................................................................ 166 7.1 MELODY VITAMINS – THE INFLUENCE OF THE PIANO AND OTHER MELODIC INSTRUMENTS........................................ 166 7.2 BRAZILIAN DRUMMING AND WEST AFRICAN RHYTHM......... 169 7.3 NORTH INDIAN TABLA................................................................... 171 7.4 FUNK DRUMMING ........................................................................... 172 7.5 SUMMARY......................................................................................... 174 CHAPTER 8 SUMMARY AND CONCLUSIONS ................................................. 176 8.1 WHY IS MELODY IMPORTANT? ...................................................
Load more

Recommended publications
  • Ratner Kills Mr
    Brooklyn’s Real Newspaper BrooklynPaper.com • (718) 834–9350 • Brooklyn, NY • ©2008 BROOKLYN HEIGHTS–DOWNTOWN–NORTH BROOKLYN AWP/18 pages • Vol. 31, No. 8/9 • Feb. 23/March 1, 2008 • FREE INCLUDING CARROLL GARDENS, COBBLE HILL, BOERUM HILL, DUMBO, WILLIAMSBURG AND GREENPOINT RATNER KILLS MR. BROOKLYN By Gersh Kuntzman EXCLUSIVE right now,” said Yassky (D– The Brooklyn Paper Brooklyn Heights). “Look, a lot of developers are re-evalut- Developer Bruce Ratner costs had escalated and the num- ing their numbers and feel that has pulled out of a deal with bers showed that we should residential buildings don’t City Tech that could have net not go down that road,” added work right now,” he said. him hundreds of millions of the executive, who did not wish Yassky called Ratner’s dollars and allowed him to to be identified. withdrawal “good news” for build the city’s tallest resi- Costs had indeed escalated. Brooklyn. dential tower, the so-called In 2005, CUNY agreed to pay “A residential building at Mr. Brooklyn, The Brooklyn Ratner $86 million to build the that corner was an awkward Paper has learned. 11- to 14-story classroom-dor- fit,” said Yassky. “A lot of plan- “It was a mutual decision,” mitory and also to hand over ners see that site as ideal for a said a key executive at the City the lucrative development site significant office building.” University of New York, which where City Tech’s Klitgord Forest City Ratner did not would have paid Ratner $300 Auditorium now sits. return two messages from The million to build a new dorm Then in December, CUNY Brooklyn Paper.
    [Show full text]
  • Wavebid > Buyers Guide
    Auction Catalog March 2021 Auction Auction Date: Sunday, Feb 28 2021 Bidding Starts: 12:00 PM EST Granny's Auction House Phone: (727) 572-1567 5175 Ulmerton Rd Email: grannysauction@gmail. Ste B com Clearwater, FL 33760 © 2021 Granny's Auction House 02/28/2021 07:36 AM Lot Title & Description Number 12" x 16" Wyland Lucite Limited Edition Orca Family Statue - Free form clear lucite form reminiscent of ice with sun softened edges 1 holding family pod of 3 Orcas/ killer whales, etched Wyland signature lower left, numbered 105/950 lower right - in house shipping available 2 6" x 4" Russian Lacquerware Box Signed and Numbered with Mythic Cavalry Scene - Black Ground, Bright Red Interior - In House Shipping Available Tiffany & Co. Makers Sterling Silver 6 1/2" plate - 16052 A, 7142, 925-1000, beautiful rimmed plate. 5.095 ozt {in house shipping 3 available} 2 Disney Figurines With Original Boxes & COA - My Little Bambi and Mothe # 14976 & Mushroom Dancer Fantasia. {in house shipping 4 available} 2 Art Glass Paperweights incl. Buccaneers Super Bowl Football - Waterford crystal Super Bowl 37 Buccaneers football #1691/2003 & 5 Murano with copper fleck (both in great condition) {in house shipping available} 6 Hard to Find Victor "His Master's Voice" Neon Sign - AAA Sign Company, Coltsville Ohio (completely working) {local pick up or buyer arranges third party shipping} 7 14K Rose Gold Ring With 11ct Smokey Topaz Cut Stone - size 6 {in house shipping available} 8 5 200-D NGC Millennium Set MS 67 PL Sacagawea Dollar Coins - Slabbed and Graded by NGC, in house shipping available Elsa de Bruycker Oil on Canvas Panting of Pink Cadillac Flying in to the distance - Surrealilst image of cadillac floating above the road 9 in bright retro style, included is folio for Elsa's Freedom For All Statue of Liberty Series - 25" x 23" canvas, framed 29" x 28" local pick up and in house shipping available 10 1887 French Gilt Bronze & Enamel Pendent Hanging Lamp - Signed Emile Jaud Et Jeanne Aubert 17 Mai 1887, electrified.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • Jack Dejohnette's Drum Solo On
    NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Rediscover Northern Ireland Report Philip Hammond Creative Director
    REDISCOVER NORTHERN IRELAND REPORT PHILIP HAMMOND CREATIVE DIRECTOR CHAPTER I Introduction and Quotations 3 – 9 CHAPTER II Backgrounds and Contexts 10 – 36 The appointment of the Creative Director Programme and timetable of Rediscover Northern Ireland Rationale for the content and timescale The budget The role of the Creative Director in Washington DC The Washington Experience from the Creative Director’s viewpoint. The challenges in Washington The Northern Ireland Bureau Publicity in Washington for Rediscover Northern Ireland Rediscover Northern Ireland Website Audiences at Rediscover Northern Ireland Events Conclusion – Strengths/Weaknesses/Potential Legacies CHAPTER III Artist Statistics 37 – 41 CHAPTER IV Event Statistics 42 – 45 CHAPTER V Chronological Collection of Reports 2005 – 07 46 – 140 November 05 December 05 February 06 March 07 July 06 September 06 January 07 CHAPTER VI Podcasts 141 – 166 16th March 2007 31st March 2007 14th April 2007 1st May 2007 7th May 2007 26th May 2007 7th June 2007 16th June 2007 28th June 2007 1 CHAPTER VII RNI Event Analyses 167 - 425 Community Mural Anacostia 170 Community Poetry and Photography Anacostia 177 Arts Critics Exchange Programme 194 Brian Irvine Ensemble 221 Brian Irvine Residency in SAIL 233 Cahoots NI Residency at Edge Fest 243 Healthcare Project 252 Camerata Ireland 258 Comic Book Artist Residency in SAIL 264 Comtemporary Popular Music Series 269 Craft Exhibition 273 Drama Residency at Catholic University 278 Drama Production: Scenes from the Big Picture 282 Film at American Film
    [Show full text]
  • Jonny King — Biography
    Jonny King Biography Jonny King has been described by Downbeat as "one of the strongest piano voices" of his generation and a "bandleader who kicks ass." JazzTimes likewise wrote that he “represents the best of what jazz has to offer” as both a performer and composer. A native New Yorker, he grew up in the City's jazz clubs, participating first as a fan and then as a performer. Before he was a teenager, King had already performed onstage with Dizzy Gillespie and appeared on television at the piano alongside his early idol, Earl “Fatha” Hines. Before he was 20, he was already sitting in with Art Blakey and playing his first gigs in New York's many restaurants and clubs. King is primarily self-taught, having neither received any formal music education nor attended any jazz schools. He gratefully credits pianists Mulgrew Miller and Tony Aless as important influences, mentors and personal teachers. Beyond their private instruction, King learned music in the most old-school of ways -- by obsessively listening to records, attending jam sessions, and soaking up as much live and recorded music possible, from the most traditional to the most avant-garde. He continues to approach music the same way, both as a performer and composer. Beginning in the 1990s, King became a steady presence on the City's club scene, featuring his own bands at The Jazz Standard, Smalls, and legendary clubs like Sweet Basil's and Bradley's, his home-away-from-home, where he performed regularly both as leader and sideman. He toured as a member of Joshua Redman's Quartet and the Blue Note Records cooperative band OTB, and worked as the pianist in groups led by saxophonists Steve Wilson, Eddie Harris, Vincent Herring and many others.
    [Show full text]
  • Master's Recital: Isaac Schwartz
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 5-2020 Master's recital: Isaac Schwartz Isaac Schwartz University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2020 Isaac Schwartz Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Composition Commons, and the Music Performance Commons Recommended Citation Schwartz, Isaac, "Master's recital: Isaac Schwartz" (2020). Dissertations and Theses @ UNI. 1032. https://scholarworks.uni.edu/etd/1032 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Copyright by ISAAC SCHWARTZ 2020 All Rights Reserved MASTER’S RECITAL: ISAAC SCHWARTZ An Abstract Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Isaac Schwartz University of Northern Iowa May 2020 This Study by: Isaac Schwartz Entitled: Master’s Recital: Isaac Schwartz has been approved as meeting the thesis requirement for the Degree of Master of Music Date Chris Merz, Chair, Recital Committee Date Dr. Michael Conrad, Recital Committee Member Date Dr. Alexander Pershounin, Recital Committee Member Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Isaac Schwartz Entitled: Master’s Recital: Isaac Schwartz Date of Recital: April 8, 2020 has been approved as meeting the thesis requirement for the Degree of Master of Music Date Chris Merz, Chair, Recital Committee Date Dr. Michael Conrad, Recital Committee Member Date Dr.
    [Show full text]
  • 21St Century Jazz-Rock and Much More: Guitarist Rez Abbasi & Junction Bring Together a Vast World of Influences on Behind the Vibration
    Bio information: REZ ABBASI & JUNCTION Title: BEHIND THE VIBRATION (Cuneiform Rune 424) Format: CD / DIGITAL Release Date: May 20th, 2016 Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / JAZZ-ROCK / ELECTRIC JAZZ / FUSION 21st Century Jazz-Rock and Much More: Guitarist Rez Abbasi & Junction Bring Together a Vast World of Influences on Behind the Vibration “it was time for all these musical worlds to collide.” –Rez Abbasi A junction is the point at which several things converge. For the visionary and award-winning jazz guitarist Rez Abbasi, his new band Junction weaves together musical currents he’s spent his career navigating. Abbasi has been at the center of some of the most enthralling and culturally expansive music of the past two decades, and his Cuneiform debut Behind the Vibration introduces a bracing new body of music, a sinewy 21st century approach to jazz-rock inspired by his far-flung influences. In myriad inspired collaborations, from the South Asian jazz synthesis of alto saxophonist Rudresh Mahanthappa’s Indo-Pak Coaltion to the Punjab-meets-Tuareg vocal flights of Kiran Ahluwalia, Abbasi has manifested an uncommon gift for creating new sounds in settings deeply inflected by traditional forms. In his own projects, the Pakistani-American musician has displayed similarly fierce creativity, like his gorgeous unplugged reimagining of jazz-rock classics with the Rez Abbasi Acoustic Quartet’s (RAAQ) critically hailed 2015 album Intents and Purposes (Enja), and his all-star quintet (and sometimes sextet) Invocation with Mahanthappa, Vijay Iyer, bassist Johannes Weidenmueller, drummer Dan Weiss, (and latest addition cellist Elizabeth Means).
    [Show full text]
  • Bio Information: JOEL HARRISON, LORENZO FELICIATI, CUONG VU, ROY POWELL, DAN WEISS Title: HOLY ABYSS (Cuneiform Rune 334)
    Bio information: JOEL HARRISON, LORENZO FELICIATI, CUONG VU, ROY POWELL, DAN WEISS Title: HOLY ABYSS (Cuneiform Rune 334) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ “When you stare into the abyss the abyss stares back at you.” – Friedrich Nietzsche Full of foreboding and existential terror, the abyss resides in the darkest corners of the human imagination. Holy Abyss, a collaborative project between New York guitarist Joel Harrison and Italian bassist Lorenzo Feliciati, is an antidote to angst. Flowing from a deep communion between the artists, the album turns dread on its head, offering a series of expansive soundscapes full of lustrous harmonies, searching melodies and knowing interplay. Featuring trumpeter Cuong Vu, drummer Dan Weiss and Roy Powell on piano and Hammond B3 organ, the quintet reflects jazz’s increasingly international reach. Harrison and Weiss, musical comrades for many years, are New Yorkers, while longtime collaborators Feliciati and Powell hail from Rome and Oslo via the UK, respectively. Vu, who has toured and recorded with Feliciati and Powell, was born in Vietnam and is now based in Seattle, near where he grew up. The musicians are united by a passion for modern jazz unbounded by stylistic conventions. Open to sounds from around the world, they have all created music infused with electronics, odd meters, and uncommon timbres and tonal palettes. Holy Abyss opens with Harrison’s anguished ballad “Requiem for an Unknown Soldier,” which establishes the album’s elemental sensibility with its ethereal trumpet fanfare and slow burning guitar solo.
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • Noé Tavelli Argonauts Presskit 20:21 En
    Noé Tavelli & The Argonauts Press Kit www.noetavelli.com Noé Tavelli & The Argonauts 1 Press kit septembre 2020 About the band: Noé Tavelli & The Argonauts is a quintet that brings together some of the most promising young European jazz musicians. Their music, which is collectively shaped and written is fed by the influence and dynamism of the New York Jazz scene as all five band’s members have spent substantial amount of time in the Big Apple. The band offers a smart and ambitious blend of traditional and modern jazz combining both complex form and freedom. In May 2019, the band released its debut album Noé Tavelli & The Argonauts Collective, on the German based label Double Moon Records / Jazzthing as part of their Next Generation series (Vol.78). It has received a revelation award from Jazz Magazine (France) and has been reviewed by the Swiss music journalist Fredi Hallauer as “Surely some of the best in jazz at the moment”. In 2020 the group becomes a quintet and welcomes the New York pianist Manuel Schmiedel (Kurt Rosenwinkel, Dayna Stephens). Line up: Matthias Spillmann – trumpet, flugelhorn Francesco Geminiani – tenor saxophone Manuel Schmiedel – piano Fabien Iannone – double bass Noé Tavelli - drums Highlights: February 2020: “Carte Blanche” commissioned by the AMR jazz club, Geneva April - May 2019: Swiss release tour May 2019: 1st album released under the “Next Generation” series by Double Moon Records and JazzThing May - June 2017: Swiss tour Clubs and Festivals: 02.2020: AMR jazz club, Geneva (CH) 12.2019: Moods Im Schiffbau
    [Show full text]
  • 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;
    [Show full text]