Ready-Set-HOME B> Chester Conklin and Eccentricity Which the Role Prepares for the Role, Susan HOME Opens in Five Days

Total Page:16

File Type:pdf, Size:1020Kb

Ready-Set-HOME B> Chester Conklin and Eccentricity Which the Role Prepares for the Role, Susan HOME Opens in Five Days ST. b307< I-UD130N VilSC, NOV U 1 • ttK>i,^cAL :..^r .iFTY i ' W x i l v r s n Laureine University, Appleton. Wisconsin Friday, 25 October, 1974 Ready-Set-HOME b> Chester Conklin and eccentricity which the role prepares for the role, Susan HOME opens in five days. The requires. The actor must syn­ responded, “1 think dirty, Lawrence University Theatre thesize his character’s per­ Kathleen is like that. She’s also a department is putting the sonality and flesh out the por slob . always rubbing and finishing touches on the trayal to create a total person picking things . she’s no production: set, lighting, props, onstage. The cast members ingenue, that’s for sure.” themselves have a clear con­ cues and costumes are all finding Marjorie (Karen Williams) is ception of the people they por their final configurations. Each much like her friend Kathleen. facet is being polished to its tray, and have different methods Karen characterizes her as of preparing themselves for the highest intensity. So, too, the “crude but quick. She thinks a lot actors prepare. show. about sex and love, but she’s Each member of the cast has Jack (Craig Berenson) is an never seen any difference bet­ lived with his or her character for upper-class gentleman in his ween the two." Marjorie faces lour weeks. Acting is a lot like middle ages He is a natty things with a pessimistic living with another person. And dresser and rather enjoys the determination and, in an effort to when HOME debuts Wednesday sound of his own voice. But, as maintain a bit of decorum in the night the cast members will Craig notes, “Jack tends toward home, continually exhorts cease being Craig Berenson, making things up, confabulating Kathleen to “Put your skirt He’s not a liar, he simply prefers John Wolfe, Susan Saunders, down, girl!” Her pleas are to Karen Williams, and Chris Ward fantasy to reality. He survives on little avail. for those two hours made-up memories of a past of They will find new incarnations his own devising . it’s the only The fifth member of the cast is in the persons of five rather off- way he can face life.” Alfred (Chris Ward), an un­ balance Britons named Jack, Harry (John Wolfe) is also a fortunate fellow who’s been HOME cast, from left, Craig Berenson, Karen Williams, Susan Harry, Kathleen, Marjorie and gentleman, but more austere and lobotomized. presumably for his Saunders, Chris Ward, and John Wolfe. (Photo by Deb own good. Alfred has trouble Alfred. Each of the five has for retiring than Jack. Reality is Halberstadt). some reason found himself the Harry’s nemesis, too, and the two communicating. Ideas don’t resident of a home for the men avoid mention of anything seem to mesh and thought comes mentally troubled . or to be too close to the pain of life in the only with great effort Chris feels blunt, they live in a booby hatch! outside world In his portrayal of this way about the role: “A Downer Council: And how they look at themselves, Harry, John has to change in classic case of brain salad each other and the world com­ numerous ways, “ First, I have to surgery. The guy’s got prises the thrust and theme of the walk and act like Harry, a forty- problems.” Alfred’s chief joy in play eight year old man. Second, life is wrestling with tables and for people, not food The primary challenge for the there’s his voice; its tone and chairs. actors has been the attempt to pattern are very different from When one looks at the by Jean Erickson In 1973, Downer Women’s master the quirks and mine. And finally I have to think production of HOME in toto, the Few of the freshman at Council changed its name to idiosyncrasies exhibited by the like Harry would think.’’ acting plays a substantial part, Lawrence can boast a working Downer Council, hoping at the characters. This is what makes The two women Kathleen. but by no means is it the whole knowledge of the key card same time to change its emphasis the actor’s job so exciting in (Susan Saunders) and Marjorie, show The designing, lighting, system, a method of controlled from women’s to human HOME: the mixture of normalcy (Karen Williams), are both from rigging, construction, and access to women’s dorms. liberation Because their first the lower classes and differ painting of the set have all taken Ignorance, in this case, really is program, a Human Rights greatly from th*‘ men. Kathleen, hundreds of man hours When the bliss. It is too bad that more Seminal, was poorly attended, for example, is very honest and dedication of the live actor is freshman don’t realize that their the new Council had a slow start. frank about things, but has a addl'd to the accomplishments of freedom from this dreary rule is But in the fall of 1973, they childish bent. Also, her thoughts a skillful technical crew, the a direct result of the Downer renewed their efforts to increase Matrix to Council’s desire to free itself lean in a decidely salacious result is fine theatre. HOME is student interest, and drew direction When asked how she such a production A regulatory body comprised of seventy men and women to their the president and vice-president first meeting. perform of each women’s dorm, made up Their weekly meetings had a Matrix, the 9-piece jazz-rock the Downer Women’s steady attendance of ten to fif­ group, will l>e performing this Association. The maintenance teen people. In addition, the Sunday in the Chapel. The con­ hkd and regulation of restrictions, Council initiated many campus- cert is being given in honour of like the key cards, was once the p í wide programs, such as a the Conservatory’s centennial ¿ \ sole concern of the council. student-faculty revue, a sym and is sponsored by Phi Mu Alpha Downer Women's Council formed Simphonia. an enforced policy for these posium on rape, which they co­ sponsored with Fox Valley NOW, Matrix draws its talent from dorms until with the exception of and Women’s Week Their the (LUJE) Lawrence University Kohler, they became co-ed. programs were held in the Pan- Jazz Ensemble of past years. Downer was kept as the name Hel wing of Colman, in the This Sunday’s performance of the council because, when Downer room, which contains a promises to be excellent in the Groups join for blood drive Milwaukee Downer College and tradition of jazz at LU. Com­ Lawrence College merged, the collection of Milwaukee-Downer bining their efforts on the Students will have the op­ who can or cannot give blood will alumnae of M l) wanted some memorabilia and the Mary E trumpet are alumni Larry portunity to donate blood during be posted at the sign up stations. carry-overs of the Downer name Morton Women’s Center, a Darling, Mike Hale and Jeff the all-day Lawrence Blood This is the first year that to the new university. With the converted sorority room which Pietrangelo, with Kurt Dietrich Drive. Sponsored by Pan-Hcl, the Lawrentians can participate in advent of co-ed housing, in 1972, now holds a small library. playing trombone. Mike Bard Co-op and L.U.C.C., drive will be an organized blood drive. If the the LUCC decided by unanimous Among the subjects which the will be featured on tenor sax, Thursday jointly November 7. drive proves successful, it may agreement to make the housing Council hopes to examine this while guitar and vocals will be Sophomor Lisa Weins, who become an annual event councils co-ed as well They year is sexism in education provided by Randy Fird and Fred organized the project, explained, suggested that the Council From readers in the first grade Sturm. Tony Wagner is on drums, “Pan-Hel will operate the signing concern itself with matters other which only present women as and rounding out the 9 man group up of students October 28-31, Ice cream and than housing. housewives, to high school will be the talent of John Harmon during lunch and dinner at both In the fall of 1972, Thea Ellery counselors who discourage on keyboard. The concert will Coleman and Downer.” and Anne Webster declared women from pursuing consist of original material and The Co-op is providing tran­ beer Saturday themselves to be the new, and as traditionally male professions, arrangements done by Harmon sportation to and from the A part of the Lawrence campus yet unrecognized, Downer sexual bias will be studied in and Sturm, both LU grads Community Blood Center, Inc. will be transformed back in time Women’s Council Their first public schools. The Appleton The group has been playing Vans will leave from Downer into the gay 90 s for the annual Pi action was to appear before the Chapter of NOW hopes to form a night clubs and bars in the area every hour on the hour, from 10 Phi-Fiji Ice Cream Social LUCC requesting the end of the task force to investigate this since turning professional. a.m. to 4 p.m. Saturday, beginning at 8:30 p.m mandatory key cards and problem in Fox Valley Schools, Future concerts include a trip to Lisa explained, “We can’t have at the house with the purple visitation restrictions The LUCC and will be assisted by Council Rochester.
Recommended publications
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • PROGRAM NOTES Guided Tour
    13/14 Season SEP-DEC Ted Kurland Associates Kurland Ted The New Gary Burton Quartet 70th Birthday Concert with Gary Burton Vibraphone Julian Lage Guitar Scott Colley Bass Antonio Sanchez Percussion PROGRAM There will be no intermission. Set list will be announced from stage. Sunday, October 6 at 7 PM Zellerbach Theatre The Annenberg Center's Jazz Series is funded in part by the Brownstein Jazz Fund and the Philadelphia Fund For Jazz Legacy & Innovation of The Philadelphia Foundation and Philadelphia Jazz Project: a project of the Painted Bride Art Center. Media support for the 13/14 Jazz Series provided by WRTI and City Paper. 10 | ABOUT THE ARTISTS Gary Burton (Vibraphone) Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone. At the age of 17, Burton made his recording debut in Nashville with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and Stan Getz, with whom he worked from 1964 to 1966. As a member of Getz's quartet, Burton won Down Beat Magazine's “Talent Deserving of Wider Recognition” award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had recorded three solo albums. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon.
    [Show full text]
  • The Singing Guitar
    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
    [Show full text]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]
  • An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock
    Thursday, October 25, 2018, 8pm Fox Theater, Oakland An Evening with Pat Metheny with Antonio Sánchez, Linda May Han Oh, and Gwilym Simcock Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. ABOUT THE ARTISTS Pat Metheny was born in Lee’s Summit (MO) on one of the very first jazz musicians to treat the August 12, 1954, into a musical family. Starting synthesizer as a serious musical instrument. on trumpet at the age of eight, he switched to Years before the invention of MIDI technology, guitar at age 12. By the age of 15, he was work - Metheny was using the Synclavier as a compos - ing regularly with the best jazz musicians in ing tool. He has also been instrumental in the Kansas City, receiving valuable on-the-band - development of several new kinds of guitars, in - stand experience at an unusually young age. cluding the soprano acoustic guitar, the 42-string Metheny first burst onto the international jazz Pikasso guitar, Ibanez’s PM series of jazz guitars, scene in 1974. Over the course of his three-year and a variety of other custom instruments. stint with vibraphone great Gary Burton, the It is one thing to attain popularity as a musi - young Missourian quickly displayed his soon- cian, but it is another to receive the kind of to-become trademark playing style, which acclaim Metheny has garnered from critics and blends the loose and flexible articulation peers. Over the years, he has won countless polls customarily reserved for horn players with an as Best Jazz Guitarist along with awards includ - advanced rhythmic and harmonic sensibility— ing gold records for (Still Life) Talking, Letter a way of playing and improvising that is mod - from Home, and Secret Story .
    [Show full text]
  • Extended Performance Techniques and Compositional Style in the Solo
    EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument.
    [Show full text]
  • An Examination of Gary Burton's Chega De Saudade, Steve Reich's
    Discussion and analysis of a graduate recital: an examination of Gary Burton's "Chega De Saudade," Steve Reich's "Marimba Phase," Michael Gordon's "XY," John Cage's "In a Landscape," Minoru Miki's "Time for Marimba," and Milton Babbitt's "Homily" Item Type Other Authors Hull, Christopher James Edgar Download date 25/09/2021 06:02:11 Link to Item http://hdl.handle.net/11122/7965 DISCUSSION AND ANALYSIS OF A GRADUATE RECITAL: An Examination of Gary Burton’s Chega De Saudade, Steve Reich’s Marimba Phase, Michael Gordon’s XY, John Cage’s In a Landscape, Minoru Miki’s Time for Marimba, and Milton Babbitt’s Homily. By Christopher James Edgar Hull, BMus. A Project Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Performance University of Alaska Fairbanks May 2017 APPROVED: Eric Retterer, Committee Chair William Post, Committee Member Eduard Zilberkant, Committee Member William Post, Chair Department of Music Todd Sherman, Dean College of Liberal Arts Michael Castellini, Dean of the Graduate School Abstract This paper discusses some of the many facets of percussion music through the examination and analysis of the following works: Gary Burton’s Chega De Saudade for solo vibraphone; Steve Reich’s Marimba Phase for two marimbas; Michael Gordon’s XY for five drums; the author’s own arrangement for multiple-percussion setup of John Cage’s In a Landscape-, Minoru Miki’s Time for Marimba for solo marimba; and Milton Babbitt’s Homily for solo snare drum. As the repertoire and performance practices of percussion continue to develop, there are many issues of note to the studying percussionist.
    [Show full text]
  • The Gary Burton Quartet
    THE GARY BURTON QUARTET Ein ziemlich populärer Satz der letzten Jahre lautete „mit 60 beginnt das Leben“. Gary Burton allerdings hat, wie schon so oft in seiner Karriere, dem Buch zum Lebensabend gleich noch ein Kapitel hinzu gefügt. Im Januar feierte er seinen 71. Geburtstag - ein Alter, das die meisten Künstler schon mit der Rückschau auf ihr Schaffen verbringen. Burton hingegen schaute in die Zukunft und festigte zugleich mit seinem letzten Album „Guided Tour“ die Reputation seiner neuen, großen Band, des New Gary Burton Quartet. Über das was war hat er dann lieber ein Buch geschrieben: Im September 2013 erschien mit „Learning To Listen“ seine Autobiographie. Als Executive Vice President des renommierten Berklee College of Music sah man ihn drei Jahrzehnte lang als Jazz-Erzieher, während parallel dazu seine Karriere als Performer und Recording Artist auch nicht eben in ruhigen Bahnen verlief. Berühmt für die Wiederentdeckung und Verfeinerung der Vier-Klöppel-Technik am Vibraphon, gelang ihm zudem die Erschaffung seines eigenen, ganz unverkennbaren Sounds. Nebenher etablierte der Amerikaner an seinem College die ersten Onlinekurse auf der Plattform Coursera, der bereits zwei Monate vor ihrem offiziellen Start 25.000 Studenten angehörten. Auf „Guided Tour“ nun bewies der innovativste Vibraphonist des Jazz, das sein New Gary Burton Quartett kein Zirkuspferd ist, das nur einen Trick beherrscht. Mit dem überreich talentierten Gitarren-Genius Julian Lage und den zwei Veteranen Scott Colley am Bass und Antonio Sanchez an den Drums, ist „Guided Tour“ so etwas wie ein musikalisches Ausrufezeichen einer der dynamischsten Bands auf der Szene dieser Tage. Und selbst, wenn er jetzt in veränderter Besetzung auf Tour geht: Den Spirit seines neuen Quartetts wird Gary Burton deshalb nicht zuhause lassen.
    [Show full text]
  • Dominican Republic Jazz Festival @ 20
    NOVEMBER 2016 VOLUME 83 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen 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] 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; 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, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
    [Show full text]
  • Morgenstern, Dan. [Record Review: Gary Burton: Duster]
    Rc<ords ar e rev iewed by Don DeMlcheal , Gilbert M. Erskine, Ke nny Dorham, Ira ~ Iller, Rolph John son, Bill Mathieu , Morion McPar lla Dan Morgenstern, Harvey Pekar, 8111Qu inn, William Ruu o, Harvey Siders, Carol Sloane , Edward A, Spring, Pate Welding, and Michael Zwe, Reviews are signed by the writers . Ratings ar e: * * * * * excellent , * * * * very good , * * * good , * * fair, * poor. When two catalog numbers are listed, the first i• mono , and the second is stereo . Dave Brubeck musical context and relates to that context, his is living music. It is not that BRAVO I BRUBECK !-Co lumbi <t 2695/ 9495: strikes a balance between playfulness and lives in the past or is trying to b Ci1/ito Li 11do; La Palo 111a A~11I• SobrD las Oias; Btsa'mc M11, b1J; N os111lgi11,le i\i, xiro; Poi11cia11a; thoughtfulness, and is never willful or life into a corpse so much as h El Rt111cbo Gra11de; BstroWta; I.a, IJ11mbt1. egocentric. elected to mature and grow with· lht Personnel: Paul Desmond, alco saxophone; B_rubeck, piono; Be.njarn.in Correa, guitar; Gene And ali these cats can play. Burton has confines of a musical idiom that h«11ill \ X, d ght, bass; Joe 1\forello, drums ; Salvador his own voice on an instrument that too greatest flowering two decades ago bot Agueros, bongo,s, conga drum. often swallows the player's identity, and still continues to exert an influcnc«1'n JlOQ Rating:**½ Coryell, too, has found his own way on the music. This innocuous music was recorded a much-abused ax.
    [Show full text]
  • Page | 1 Funding for the Smithsonian Jazz Oral History Program NEA
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. CARLA BLEY NEA Jazz Master (2015) Interviewee: Carla Bley (May 11, 1936 - ) Interviewer: Ken Kimery Date: September 9, 2014 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 60 pp. Ken Kimery: My name is Ken Kimery. I’m here in wonderful Willow, New York. Blue sky; wonderfully clear air, with Carla Bley. Carla Bley, composer, bandleader, pianist, organist? Umm, doctorate? Umm, raconteur, vocalist, umm, guess I’ve heard you sing. Carla Bley: You have? When was that? Kimery: Well there’s a couple of recordings that I’ve heard you sing on, so... Bley: Oh my god! Kimery: Umm… Bley: Gotta have those destroyed! Kimery: [Laughter] And, uhh, 2015, coming up 2015, National Endowment for the Arts Jazz Master. Bley: Isn’t that amazing? Kimery: Thank you very much for allowing me to invade your home here in wonderful Willow, New York, and for the next couple of hours to sit down with you and have you share with us your life story. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Bley: Okay. Kimery: If we can start, if you could give us your full name, and if you don’t mind your birth date, birth year. Bley: Mhmm Kimery: And where you were born. Bley: Well, my full name is not the name I was born with. My real name that I was born with is, oh my god, I think I can say it.
    [Show full text]
  • Gary Burton Works Mp3, Flac, Wma
    Gary Burton Works mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Works Country: France Released: 1984 Style: Contemporary Jazz MP3 version RAR size: 1423 mb FLAC version RAR size: 1899 mb WMA version RAR size: 1189 mb Rating: 4.7 Votes: 605 Other Formats: TTA MIDI DXD MOD AIFF AU XM Tracklist Hide Credits Olhos De Gato A1 5:38 Written-By – Carla Bley Desert Air A2 6:23 Written-By – Chick Corea Tunnel Of Love A3 5:30 Written-By – Michael Gibbs Vox Humana A4 7:01 Written-By – Carla Bley Three B1 6:12 Written-By – Michael Gibbs Brotherhood B2 1:08 Written-By – Gary Burton Matchbook B3 4:30 Written-By – Ralph Towner Chelsea Bells (For Hern) B4 4:24 Written-By – Steve Swallow Coral B5 4:03 Written-By – Keith Jarrett Domino Biscuit B6 1:56 Written-By – Steve Swallow Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Copyright (c) – ECM Records GmbH Published By – Phonogram Credits Bass – Abraham Laboriel (tracks: A1, B5), Eberhard Weber (tracks: A3), Steve Swallow (tracks: A3 to B1, B4, B6) Conductor – Michael Gibbs (tracks: B1) Cover [Cover Graphic] – Gerd Winner Design – Dieter Rehm Drums – Bob Moses (tracks: A4), Harry Blazer (tracks: A1, B5), Ted Seibs (tracks: B1) Engineer – Henning Ruete, Jan Erik Kongshaug, John Nagy, Martin Wieland Guitar – Mick Goodrick (tracks: A1, A4, B1, B5), Pat Metheny (tracks: A3, A4), Ralph Towner (tracks: B3) Orchestra [Members] – NDR-Symphony Orchestra, Hamburg* (tracks: B1) Percussion – Bob Moses (tracks: A3) Photography By [Liner Photo] – Norman Seeff Piano – Chick Corea (tracks: A2), Steve Swallow (tracks: B6) Producer – Manfred Eicher Vibraphone – Gary Burton Notes An ECM Production © ℗ 1984 ECM Records GmbH Imp.
    [Show full text]