DOCSLIB.ORG

New Mexico Musician Vol 33 No 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Mexico Musician Vol 33 No 3 New Mexico Musician Volume 33 | Number 3 Article 1 4-1986 New Mexico Musician Vol 33 No 3 Follow this and additional works at: https://digitalrepository.unm.edu/nm_musician Part of the Music Education Commons Recommended Citation . "New Mexico Musician Vol 33 No 3." New Mexico Musician 33, 3 (1986). https://digitalrepository.unm.edu/nm_musician/vol33/ iss3/1 This Full Issue is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Musician by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. lFFICIAL PUBLICATION NEW MEXICO MUSIC EDUCATORS ASSOCIATION olume XXXIII Spring 1986 Number 3 � theXude Kart ine. � CllucilionaG c.SkttbMusic c.Sptcialifls 101VMort '7kav a_, fl!!_,arte,v Ct8u'! NEED YOUR MUSIC QfilCK ? � 210 YaleSE, Albuquerque NM 8'7108 � 2 NEW MEXICO MUSICIAN MMEA OFFICERS THE ESIDENT NEW MEXICO MUSICIAN n L. Pemberton ) Bortot #8 �up 87301 Official Publication of the me 722-9513 Office 863-3821 CE-PRESIDENT, BAND New Mexico Music Educators Association In R. Schutz ,0 Jomada Road, South 1 Cruces 88001 Volume XXXIII Number 3 Spring 1986 me 522-6091 Office 524-2831 ISSN 0742-8278 CE-PRESIDENT, CHORAL /. Wall 14 Larchmont NE luquerque 87111 me 293-0259 Office 842-3684 CE-PRESIDENT, ELEMENTARY/.IUNIOR HIGH CONTENTS my W. Taylor ARTICLES PAGE ). Box 1015 1mogordo 88310 What's Right With Music Education/Paul R_ Lehman _ .............. 11 e 437-0523 Office 437-6886 A Selected List of Saxophone Literature For Beginning, Intermediate, �E-PRESIDENT, ORCHESTRA Chrisman and Advanced Students/Keith Lemmons ....................... 14 . Box 323 The Society for General Music Idea Exchange . .. .. .. .. 18 racres 88033 me 526-8815 Office 524-8611 CE-PRESIDENT, UNIVERSITY/COLLEGE Duane J. Bowen � Floyd Golden Circle DEPARTMENTS rtales 88130 The President's Message .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 4 1me 356-3077 Office 562-2781 Our Executive Secretary Says . .. .. .. .. .. .. .. .. 6 I.ST PRESIDENT 1 Young From The State Department of Education . .. .. .. .. .. 8 �6 Van Court Vice-President Reports ....................................... 21 ,mogordo 88310 me 437-6038 Office 437-6886 District News ............................................... 26 CUl'IVE SECRETARY News From NAJE .......................................... 29 ie Heitman pO Don Gasper Student Chapter News ....................................... 33 rta Fe 87501 University News ............................................ 34 lme 982-1091 Of Note .................................................. 40 MMEA DISTRICT PRESIDENTS Advertisers Index .. .. .. .. .. .. .. .. .. .. 42 ORGANIZATIONAL MATTERS Minute5 of Organizational Meetings ............................. 33 NMMEA Music Industry Council Members . .. .. .. .. .. .. .. 42 Tom Dodson, Editor Larry Wheeler, Business Manager Home 293-490 1 Office 277-4705 Home 256-3823 ey Tyrone Sperry Dr. Vegas 87701 All correspondence should be addressed to the editor, Department of Music, University of New me 425-9552 Office 425-6859 Mexico, Albuquerque, NM 87131. STRICT 5 • NORTHEAST The New Mexico Music Educators Association is a federated state association of the Music Educators National Conference and part of the Southwestern Division of MENC. Lunas 87031 The New Mexico Musician is published three times per year at Twoson Graphics, Inc./ Albu­ me 865-7164 Office 864-7468 (Ext. 29) TRICT 7 • ALBUQUERQUE querque by the NMMEA. Typesetting by Letter Perfect, Inc./ Albuquerque. Deadlines for �yne Thelander the Fall, Winter and Spring issues are August 7, November 1, and March 1. 28 San Pablo NE uquerque 87110 pme 888-2463 Subscription rate to non-members is $4.50 per year; single copy is $1.50. Changes of !PRING, 1986 address should be reported to Rollie Heitman, Exeuctive Secretary. EW MEXICO MUSICIAN 3 THE PRESIDENTS MESSAGE Thanks to the careful planning and are: John Schutz, President; Kurt Steinhaus, preparation by your NMMEA vice-presidents, Vice-President, Band; Linda McAlister, Vice­ executive-secretary, and Win Christian, the President, Chorus; Wayne Thelander, Vice­ 1986 New Mexico Music Educators President, Orchestra; Eleanor McKinney, Association In-Service Conference and All­ Vice-President, Elementary/ Junior High State Music Clinic was a success. The address School Music; and Ellen McCullough, Vice­ to the membership, "What's Right with Music President, College/University. Education," by Paul Lehman, President of MENC, was timely, informative, and inspirational. Because so many of you have asked for copies, the complete text of Dr. Lehman's speech is included in this issue of "The New Mexico Musician." THANKS AND WELCOME The NMMEA Executive Committee expresses its sincere thanks to Dr. Tom NEW OFFICERS Dodson for his years of service as editor of The New Mexico Musician. During his tenure Congratulations to the recently elected with our state journal its quality and Sam Pemberton officers of NMMEA. Their term of office begins professionalism have reached new standards at the close of our 1987 All-State and of excellence. continues through the 1989 All-State. They Because Tom has assumed additional MUSIC EDUCATOR duties in the Music Department at UNM which OF THE YEAR AWARD do not leave him time to continue as editor, AND THE the announcement of the need for a new editor was made at All-State. We are pleased DR. JOHN BATCHELLER SYNTONOS, GR 5, that Ron Lipka, Director of Bands at New AWARD McGinty ................ 75.00 Mexico Highlands University, will assume the Floren Thompson, Jr. and Mildre An overture for Band with ener­ duties of editor with the next issue. We Greeson were honored as recipients of th getic flowing rhythms and the beau­ welcome him to the board of NMMEA. NMMEA Music Educator of the Year Awar tiful McGinty melodic lines. The and the Dr. John M. Batcheller Award fo meter changes are demanding, but Excellence in Teaching Elementary Schoo fun for both the players and the Music, respectively, during the All-Stat conductor.A significant band com­ concerts this year. The selection process fo position excellent for competition MUSIC IN OUR those to be honored next January begins a performance. your spring district NMMEA business meeting. SCHOOLS MONTH Your district office should have copies of th SINFONIA MARZIALE, The 1986 theme for MIOSM was "Music criteria for both awards. If not, write or cal Del Borgo (MD) .......... 65.00 Brings Us Together." Plans are already under Rollie Heitman or Jim Young. Urge you A new exciting contest type com­ way for the next MIOSM in March of 1987. district president to submit your district' position from Elliot Del Borgo feat­ Sherry Taylor, NMMEA Elementary/ Junior nominees' resumes and photographs to ou uring strong driving percussion parts High Vice-President, is state chair of MIOSM executive-secretary by June 1. and very playable wind lines. This is and will continue in this capacity through the one of those interesting selections 1987 MIOSM. MIOSM can be an effective that makes your band sound as public relations tool and an ideal time to though it's playing much more diffi­ encourage maximum participation from cult music than it really is. community members who are not a part of THE TEXANS, our profession. MENC IN ANAHEIM Barnes (M) .............. 65.00 Sherry would appreciate having a written By the time you read this, your New report of your activities. Plan now to Mexico delegation to the National MENC SOUTHERN MUSIC. participate in March of 1987, and to send Assembly in Anaheim, and those of us who COMPAN·Y reports and photos of your 1986 MIOSM were fortunate enough to attend the National P.O. BOX 329 events to Ron Lipka or Sherry by August 1 Covention and In-Service workshop, will have SAN ANTONIO, TEXAS 78292 for inclusion in the fall issue of our journal, or by March 1 for the spring issue. Continued on page 16 4 NEW MEXICO MUSICIAN THE SELM �R LA, PLAN PROTECT YOUR SOUND INVESTMENT IN INSTRUMENTAL MUSIC WITH A LEASE PL AN THAT'LL BE MUSIC TO YOUR EARS. No one has to tell you how much plan let you get all the instru­ understand the importance of in­ your schools have invested in their ments you need now. And gives strumental music in complement­ instrumental music programs. Es­ you up to five years to pay with ing quality education. It's why pecially when you consider every­ annual lease renewal. What's we've gone to such great pains to thing from salaries and instru­ more, your payments apply to­ be sure our lease plan will meet ments to classrooms and uniforms. ward purchase at the end of your your specific needs and budget. It's a major investment, which de­ contract period. To find out just what we mean, serves to be protected. The Selmer Lease Plan was contact your local Selmer dealer And that's where we come in. developed by people who fully or send us the coupon. Yousee, The Selmer Company r----------------------------------------------------------- offersyou a way to help protect � The Selmer Company your investment. By making it l,._� Post Office Box 310 ·Elkhart. Indiana 46515 easy for you to add instruments � Send more information on the Selmer Lease Plan to: to your bands and orchestras, and to replace old instruments with NAME new ones. It's called The Selmer Lease TITLE Plan. And there's nothing like it ADDRESS anywhere else. Basically, our lease CITY/STATE/ZIP fEW MEXICO MUSICIAN 5 OUR EXECUTIVE SECRETARY SAYS .•. It is hard to believe the 1986 NMMEA All- history. The Music Department and the Col­ materials, equipment, and new approach State Music Festival and In-Service Con­ lege of Fine Arts of the University of New to teaching music education. ference has come and gone. The 42nd All­ Mexico again served as the perfect host. More than 70 sessions of workshop State was highly suc­ Sincere thanks and appreciation are extend­ demonstrations, lecture recitals by Universit cessf u I as to the ed to Dr. Peter Ciurczak, Chairman of the faculty and University music students, plu weather, the atten­ Music Department, and Harold Van Winkle, numerous rehearsal sessions by the ten gue dance, the organiza­ UNM Director of Bands.
Load more

Recommended publications
  • RHYTHM & BLUES...63 Order Terms
    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
    [Show full text]
  • THE NEW MEXICO MUSICIAN IMEA OFFICERS Official Publication of the Tsident L
    New Mexico Musician Volume 33 | Number 2 Article 1 12-1985 New Mexico Musician Vol 33 No 2 Follow this and additional works at: https://digitalrepository.unm.edu/nm_musician Part of the Music Education Commons Recommended Citation . "New Mexico Musician Vol 33 No 2." New Mexico Musician 33, 2 (1985). https://digitalrepository.unm.edu/nm_musician/vol33/ iss2/1 This Full Issue is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Musician by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. "-l. L CIAL PUBUCATION NEW MEXICO MUSIC EDUCATORS ASSOCIATION Winter 1985 Number 2 IT HAS THE HEART OF A DX SYNTHESIZER. AND THE MIND OF A COMPUTER. The firstcomputer with true musical CXSM is a musician,friendly computer as talent is here - the CXSM fromYamaha. well as a musical sounding one. It has the same FM digital tone generator as Come in today and check out the the DX synthesizers. With this breakthrough amazing possibilities of the Yamaha CXSM in sound harnessed to the power of a com, music computer foryourself. puter, you can begin to expandyour musical horizons beyond human limitations. And in very little time, too. Becausethe Yamaha GYAMAHA DRUM& GUITAR 2617 RHODE ISLAND, N.E. (505)298- 5519 ALBUQUERQUE, N.M. 87110 THE NEW MEXICO MUSICIAN IMEA OFFICERS Official Publication of the tSIDENT L. Pemberton New Mexico Music Educators Association Bortot #8 p 87301 e 722-9513 Office 863-3821 Volume XXXIII Number 2 Winter 1985 E·PRESIDENT, BAND R.
    [Show full text]
  • Jersey Jazz 3410
    Volume 34 • Issue 10 JerseyJazz November 2006 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. JazzFeast: Where the Square is Hip By Tony Mottola Jersey Jazz Editor PRINCETON — Places don’t get much hipper than Palmer Square in downtown Great food and top Princeton, at least not when JazzFeast holds forth there as it did for the 15th time on jazz acts make Saturday, September 16. More than 20 area restaurants set up shop around the a fresh-air picturesque green serving up delicious food. Meanwhile four top jazz acts served feast for up five hours of tasty music on the nearby outdoor stage. body and JazzFeast regularly attracts a crowd of 5,000 soul. plus music lovers from the tri-state area and this year’s picture perfect weather brought out an especially large, enthusiastic crowd. The music, programmed and emceed by the NJJS’s own Jack Stine, swung from the first downbeat to the last coda. First up were Alan Dale and The New Legacy Band, who marked their 14th consecutive appearance at the event. This is one swinging outfit and they know their way around the Ellington, Basie and Cole Porter songbooks, to mention just a few. The Dale group was fronted for much of its performance by vocalist Bryan Clark. Clark’s look is 21st Century hip and he brings a contemporary sensibility to material associated with the likes of Nat King Cole, Ray Charles, Frank Sinatra and other classic vocalists. He makes the music new and alive with his easygoing and swinging style.
    [Show full text]
  • SURF MUSIC by Geoffrey Himes
    SURF MUSIC By Geoffrey Himes It often seems that the United States is a pool table that has been tilted so all its hopes and dreams roll to the west. Whenever Americans want a new and better life, they head toward the setting sun. Whether it was the white-canvas covered wagons of the 1850s, the rusty Okie jalopies of the 1930s or the painted hippie vans of the 1960s, the direction is always westward—and eventually they collect in the pool table’s corner pocket known as Southern California. When Chuck Berry went chasing after his imagined utopia in the song “Promised Land," where did he end up? Los Angeles. Thousands of Hollywood movies had advertised Southern California as a nirvana of palm trees, sunshine, beautiful girls and beautiful boys, convincing folks from Oklahoma, Kansas and Ohio to pack up and move to the coast. By the end of the 1950s, the area around L.A. was full of almost as many transplanted Midwesterners as native Californians. The natives knew the region was no utopia, but the first and second-generation immigrants, these strangers in paradise, still clung to the notion of America’s western edge as the place where their dreams might come true. The teens and twentysomethings in these families—too young and too new to the West Coast to be disillusioned— turned that utopian impulse into a new kind of rock'n'roll: surf music. Brian, Dennis and Carl Wilson, whose father and mother had moved to California from Kansas and Minnesota respectively, formed the Beach Boys.
    [Show full text]
  • Key-Notes Issue#159.Pub
    FEBRUARY 2007 ISSUE #159 Inside: Now, Ladies & Gents Club Services Thanks For the Music Group/Solo Effort RAMBLINGS FROM THE EDITOR VIEW FROM THE TOP Congratulations to the 2007 office team you elected to run your club. They include: Bill Donohue, President; Les Knier, Vice President; Erna Welcome to another year of Reinhart, Secretary and Charlie collecting with the Keystone Record Collectors! Reinhart, Treasurer. I want to thank all elected and appointed officers They are all committed to do the best they can for you, for their commitment to the club for 2006. A however, they can’t do it all alone. Volunteer your time, expertise, comments and knowledge. Please help them special thank you to the officers who stepped up make our club and show even more effective. and performed double duty while I had some personal items to take care of. Thank you to all At the January Business meeting, following the announcement of the election results, all of the current members for their votes of support for the 2007 appointed officers were reappointed for 2007. They include: officer team and myself. Steve Yohe, Show Coordinator; Bob “Will” Williams, Site Coordinator; Doug Smith, Phone Reservations; Phil As you know, we are changing vendor table size Schwartz, Special Projects Coordinator, Les Knier, Web from 6 foot to 8 foot, allowing for what we thank Site Coordinator, Ron Diehl, Club Photographer, B. Derek will be a more efficient operation. This brings up Shaw, Newsletter and Communications and Dave Schmidt, another situation that we need to take into newly named Show Flyer Guru.
    [Show full text]
  • Carmel Valley!
    Folksinger returns Chef of the year He knows exactly after a very named — and the where to beg long absence food was good! — INSIDE THIS WEEK BULK RATE U.S. POSTAGE PAID CARMEL, CA Permit No. 149 Volume 93 No. 11 On the Internet: www.carmelpinecone.com May 11-17, 2007 Y OUR S OURCE F OR L OCAL N EWS, ARTS AND O PINION S INCE 1915 RLS TRACK COACH Gallery burglars caught in the act SUSPECTED IN By MARY BROWNFIELD But it was officer Rachelle Lightfoot, responding alone to an alarm at Simic New Renaissance Galleries just before THREE EASTERN Europeans from Sacramento took a midnight May 7, who captured two of the burglars at gun- SEASIDE SHOOTING $40,000 painting from a San Carlos Street gallery Monday point. and then returned late that night to break in and steal more “Officer Lightfoot found these individuals setting up to artwork, according to Carmel Police Sgt. John Nyunt. By MARY BROWNFIELD break into Simic gallery,” Nyunt said. After padding the glass in the gallery’s front door with newspaper to deaden the noise THE MAN suspected in Seaside’s first murder since as they broke it, the burglars struck the glass with an 2004 is a longtime Robert Louis Stevenson School employee unknown object. The door held, but the impact was strong who admitted shooting his daughter in the chest and her enough to trigger the gallery’s silent glass-break alarm, and boyfriend in the head outside the couple’s San Pablo Avenue the Carmel P.D. dispatcher apartment building May 5, according to police Capt.
    [Show full text]
  • New Mexico Musician Vol 27 No 3 (Spring 1980)
    New Mexico Musician Volume 27 | Number 3 Article 1 3-1-1980 New Mexico Musician Vol 27 No 3 (Spring 1980) Follow this and additional works at: https://digitalrepository.unm.edu/nm_musician Part of the Music Education Commons Recommended Citation . "New Mexico Musician Vol 27 No 3 (Spring 1980)." New Mexico Musician 27, 3 (1980). https://digitalrepository.unm.edu/ nm_musician/vol27/iss3/1 This Full Issue is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Musician by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. 2<'//ie 7 .-/ 2 NEW MEXICO MUSICIAN OFFICIAL PUBLICATION NEW MEXICO MUSIC EDUCATORS ASSN. VOLUME XXVII SPRING, 1980 NUMBER 3 IN THIS ISSUE ALL-STATE INFORMATION RUIDOSO BAND REPORTS FROM OFFICERS UNIVERSITY NEWS MINUTES Bob Farley 5? ~~us1c center 2 4 3707 E,ubank, N.E . • Albuquerque, New Mexico 87111 6 * 6 phone (505) 293-7444 Specializing in SERVICE to the school and professional musician . SmwUI.</ tlll 1Jj fY/JJ.w ~ In Our NEW Music Center CALL OR COME BY ANYTIME FOR ALL Y10UR MUSICAL NEEDS ... Jiu ?1.RJJJ 'm1lxwJ PRESIDENT'S ANNUAL REPORT until the Fall issue of the New ~ Mexico Musician is released. OFFICIAL PUBLICATION of the MEMBERSHIP New Mexico Music Educators Association affiliated with The present condition of our or­ Southwestern Music Educators ganization is assessed as growing Conference by only a few members. Statistics Music Educators National Conference are released each month from the NMMEA OFFICERS national office of MENC, and our President...................
    [Show full text]
  • New Mexico Musician Vol 33 No 1
    New Mexico Musician Volume 33 | Number 1 Article 1 9-1985 New Mexico Musician Vol 33 No 1 Follow this and additional works at: https://digitalrepository.unm.edu/nm_musician Part of the Music Education Commons Recommended Citation . "New Mexico Musician Vol 33 No 1." New Mexico Musician 33, 1 (1985). https://digitalrepository.unm.edu/nm_musician/vol33/ iss1/1 This Full Issue is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Musician by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. 3 --· ...,u.u DEPT. SEP 2 3 1985 fF1clAL PUBLICATION NEW MEXICO MUSIC EDUCATORS ASSOCIATION �lume XXXIII Fall 1985 Number 1 Professional FUND lcAISER over s55aooo raised last year for School Organizations in the New Mexico area e SHORT. WELL-ORGANIZED PROGRAM e QUALITY PRODUCTS-PROVEN COMMUNITY ACCEPTANCE e PERSONAL ASSISTANCE-START TO FINISH e DELIVERY IN COMPANY TRUCKS e PROMOTIONAL MONEY OR MERCHANDISE PRIZES-NOT FROM PROFITS e NO RISK GUARANTEE e AUDIO-VISUAL TRAINING FOR STUDENT LEADERS e COMPUTERIZED RECORD KEEPING WE'RE NOT JUST LII<E HENCO-WE ARE HENCO! ---Just Call Us-*--- BRUCE I<ROI<EN RALPH MONTES ZONE MANAGER ZONE MANAGER 505/294-1959 915/594-8071 12501 Oakland. Albuquerque. NM 87122 1713 Jerry Abbott, El Paso, TX 79936 * .bk <1hnu1 lhl' ,ompulL'r 1ha1 ,,111 clo )'our h,1l111111L' ,hn\\'� 1 THE NEW MEXICO MUSICIAN Official Publication of the New Mexico Music Educators Association 'MEA OFFICERS Volume XXXIII Numberl Fall 1985 1IDENT ISSN 0742-8278 .
    [Show full text]
  • Concert Programme Notes
    Come Dancing, Strictly Da Capo! The Scherzo is the first of four movements; it displays a characteristic lively and Programme Notes animated rhythm in triple time interspersed with soft, almost tentative, rhythms of changing meter. The transition into the Mambo is abrupt and dominated by the España, Rhapsody (1883) percussion and brass. The third movement, Cha-cha , is soft and graceful, in Emmanuel Chabrier (1841-94), Arr. Robert Clérisse contrast to what has preceded it. The Fugue is built upon a swing-style ”bop” rhythm that underscores the conflict between the Sharks and the Jets. Though he wrote a great deal of music, including several operas, most people only know a single work by Chabrier - this vivid, sun-drenched evocation of Spain The Slavonic Dances: A Symphonic Suite (1878) composed after the composer took a memorable trip to Andalusia, where he Dance No. 8 ( furiant - presto ); Dance No. 4 ( sousedská – tempo di heard flamenco for the first time. Letters from his journey dance so lasciviously minuetto ); Dance No.3 (polka – poco allegro ) on the edge of the erotic that only the tamest may be quoted here: Antonín Dvorák (1841-1904), Arr. Jim Curnow “Since coming to Andalusia I haven't seen a really ugly woman... I won't let The Slavonic Dances were originally written as duo-piano pieces but were on what these women display, but they display it beautifully. [With] their welcomed with such extraordinary public and critical acclaim that they were arms bare and their eyelashes so long they could be curled:... they spend immediately transcribed for orchestra.
    [Show full text]
  • Daniel Flores
    DANIEL FLORES Born in Rankin, Texas he moved to Santa Paula, California with his Mexican parents in the thirties. He first picked up a guitar at family gatherings in his early teens benefiting from positive input from various relatives. By the late forties he moved to the saxophone and was trying to emulate the raspy style of Vido Musso who had made a name with Benny Goodman and Stan Kenton. Danny would eventually sign with Modern Records as a vocalist. Flores began playing a variety of musical styles jazz, country, pop and R&B at bars and clubs, with his own band, in Long Beach. Because of his style he was often called The Mexican Hillbilly. In 1957 he met up with Dave Burgess an inspiring songwriter, singer and guitarist who was with the Challenge label, a California label owned by Gene Autry. Danny and Dave would then put together a group that included Gene Alden (drums), Buddy Bruce (guitar) and Cliff Hills (bass). During a recording session at Goldstar Studios in Hollywood, on December 23rd 1957, Danny decided to record an instrumental he and his group had been playing live as part of their club act…he called “Tequila”. While in the studio, the group decided to call themselves “The Champs” after Gene Autry’s horse with Flores taking writer’s credits. When the record began getting some air play Flores was told by the executives at Challenge to change his name for the reason he was still under contract with Modern Records as a vocalist. Danny Flores then became Chuck Rio with “Tequila” becoming one of the biggest instrumentals in Rock history reaching #1 in 1958.
    [Show full text]
  • “Abraxas”—Santana (1970) Added to the Registry: 2015 Essay by Mark Brill (Guest Post)*
    “Abraxas”—Santana (1970) Added to the Registry: 2015 Essay by Mark Brill (guest post)* Album cover Original label Carlos Santana Carlos Santana was not the first Hispanic musician to achieve success as a rock artist: Ritchie Valens, Trini Lopez, Danny Flores of The Champs and others had previously done so. But with the release of his first two albums, and especially with his performance at the Woodstock Music Festival in 1969, Santana became the most prominent Latin artist of the rock generation. To this day, he remains the most important proponent on Latin rock in the United States. Born in 1947 in the Mexican state of Jalisco, Santana made his way to Tijuana in his youth, and by the mid-1960s, he had arrived in San Francisco, where he quickly immersed himself into the musical counterculture. A virtuoso guitarist, he formed the Santana Blues Band (later shortened to just Santana), which fused his hard-edged, blues- oriented sound with musical elements from Mexico, Cuba and other parts of Latin American and the Caribbean. He incorporated Afro-Cuban styles and rhythms such as mambo, salsa, and the rituals of Santería, and prominently included percussion instruments such as timbales and conga drums. Conversely, Santana’s blues-based electric guitar differentiated the band from contemporary Latin groups that typically emphasized wind instruments such as trumpets and trombones. The Latin character of Santana’s music set the band apart and enabled it to carve out a niche in the San Francisco hippie scene, where radical innovation and eclecticism were valued, and conformity was despised.
    [Show full text]
  • A New and Concise History of Rock and R&Amp
    A New and Concise History of Rock and R&amp;#38;B through the Early 1990s Eric Charry Published by Wesleyan University Press Charry, Eric. A New and Concise History of Rock and R&amp;#38;B through the Early 1990s. Wesleyan University Press, 2020. Project MUSE. muse.jhu.edu/book/74014. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/74014 [ Access provided at 1 Jun 2021 19:45 GMT from Wesleyan University ] When we hear music, we try and place it within our own experiences to make sense of it. This can include identifying instruments and voices we hear, styles that they invoke, and sentiments being expressed. Depending on our experience, we may be III able to make value judgments about its quality. Is it good, bad, original, imitative, INTERPRETIVE FRAMEWORKS virtuosic, innovative, thought provoking, sterile? Musical encounters may have an impact on us. Do they capture certain emotions, give comfort, incite to action, lull into complacency, provide an escape from daily life, lead to alternate realities, reinforce or shape our personal and group identities? Our cultural and social backgrounds provide us with the tools and abilities to respond and be moved. The first three chapters in part 3 are designed to help us understand what goes into those backgrounds. Chapter 8 discusses some of the key identities that are part of the makeup of rock and R&B, and chapter 9 explores the historical background of the fundamental aesthetic sensibilities that have shaped rock and R&B. Chapter 10 provides an in-depth look at cross-cultural encounters, with two extended contrasting examples and four (more focused) case studies, which all lay the groundwork for the ensuing examination of the concept of appropriation.
    [Show full text]