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Volume 44 Number 4 Oct Nov Dec 2018
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC ODEAN POPE PHIL MINTON SKETY SCOTT ROBINSON STEVE COHN KEIKO JONES MONTREAL JAZZ FESTIVAL 2018 INTERNATIONAL JAZZ NEWS CD REVIEWS BOOK REVIEWS DVD REVIEWS OBITUARIES Volume 44 Number 4 Oct Nov Dec 2018 New Releases on CNM Records POCKET ACES, CULL THE HEARD (CNM032) - OUT NOW. - Pocket Aces emerged from the jazz trio tradition; where each voice balances the others through contrast, and surprise. Although freely improvised, the music of Pocket Aces is consciously compositional, given to bouts of form, groove, and crafty melodies. Distillation of ideas with a premium on space and tone provides a strong coherence as the trio navigates the familiar and unfamiliar. HOFBAUER/ROSENTHANL QUARTET, HUMAN RESOURCES (CNM033) - RELEASE DATE NOV. 9 THE HOFBAUER/ROSENTHAL QUARTET, unites four imaginative improvisors from Boston’s eclectic jazz scene. There’s a non-hierarchal notion of the ensemble in this project, an ideal of equality and a selfless determination built into every musical inclination, as they unabashedly swing at the intersection between the clarity and control of bop and the brash freedom of the avant-garde. ERIC HOFBAUER QUARTET, PREHISTORIC JAZZ VOL. 4: REMINISCING IN TEMPO - OUT NOW. Reimagining of the rarely heard 1935 long form Duke Ellington composition. "It's a musical jungle gym for the guitar fan, a close listening to Hofbauer's note choices and abstract connections to the song's structure is absolutely required listening." - Paul Acquaro, Free Jazz Blog. All Albums on Bandcamp.com, Amazon.com or Erichofbauer.com - Visit erichofbauer.com for album details, audio samples, press and more. -
International Choral Bulletin Is the Official Journal of the IFCM
2011-2 ICB_ICB New 5/04/11 17:49 Page1 ISSN 0896 – 0968 Volume XXX, Number 2 – 2nd Quarter, 2011 ICB International CIhoCral BulBletin First IFCM International Choral Composition Competition A Great Success! Results and Interview Inside Dossier Choral Music in Malaysia, Indonesia, Singapore and Macau 2011-2 ICB_ICB New 5/04/11 17:49 Page2 International Federation for Choral Music The International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year. Managing Editor Banners Dr Andrea Angelini by Dolf Rabus on pages 22, 66 & 68 Via Pascoli 23/g 47900 Rimini, Italy Template Design Tel: +39-347-2573878 - Fax: +39-2-700425984 Marty Maxwell E-mail: [email protected] Skype: theconductor Printed by Imprimerie Paul Daxhelet, B 4280 Avin, Belgium Editor Emerita Jutta Tagger The views expressed by the authors are not necessarily those of IFCM. Editorial Team Michael J. Anderson, Philip Brunelle, Submitting Material Theodora Pavlovitch, Fred Sjöberg, Leon Shiu-wai Tong "When submitting documents to be considered for publication, please provide articles by CD or Email. Regular Collaborators The following electronic file formats are accepted: Text, Mag. Graham Lack – Consultant Editor RTF or Microsoft Word (version 97 or higher). ([email protected] ) Images must be in GIF, EPS, TIFF or JPEG format and be at Dr. Marian E. Dolan - Repertoire least 350dpi. Articles may be submitted in one or more of ([email protected] ) these languages: English, French, German, Spanish." Dr. Cristian Grases - World of Children’s and Youth Choirs ( [email protected] ) Reprints Nadine Robin - Advertisement & Events Articles may be reproduced for non-commercial purposes ([email protected] ) once permission has been granted by the managing Dr. -
The Swingle Singers Swingle Singers Swingle
Ikon Arts Management Ltd Suite 114, Business Design Centre 52 Upper Street , London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)870 130 9646 [email protected] www.ikonarts.com The Swingle Singers Biography Vocal Ensemble “their precision is awesome, their technique impeccable” Classic Fm Magazine Website www. swinglesingers.com Contact Jessica Hill Email jessica @ikonarts.com For 50 years, the Swingle Singers have set a standard for what the human voice can achieve. Their signature blend of vocal agility and captivating showmanship has thrilled generations of fans worldwide. As they embark on the next chapter of their story, these pioneers of the genre are once again reshaping the possibilities of vocal music to create immersive and exhil arating experiences for audiences. The group’s history is a remarkable tale of renewal. In 1963, American 'born Ward Swingle assembled a group of Parisian session singers to sing Bach’s keyboard music. The resulting album, Jazz Sebastian Bach, launched the Swingle Singers to fame. Over five decades the group has sustained a level of international popularity beyond its founder’s wildest dreams, with each new singer bringing something fresh to the Swingle sound. The seven extraordinary voices that make up t oday’s young, London 'based Swingle Singers are the inheritors of an unbroken lineage going back to 1963 and share the original group’s innovative spirit. Their repertoire spans pop, classical, folk, latin and jazz music – and, for the first time in many ye ars, powerful original songs. All are delivered with unflagging passion and precision, using the human voice alone. -
Why Do Singers Sing in the Way They
Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor. -
0912 BOX Program Notes
THE BOX–music by living composers NotaRiotous Microtonal Voices Saturday, September 12, 2009 About the composers and the music Ben Johnston Johnston began as a traditional composer of art music before working with Harry Partch, helping the senior musician to build instruments and use them in the performance and recording of new compositions. After working with Partch, Johnston studied with Darius Milhaud at Mills College. It was, in fact, Partch himself who arranged for Johnston to study with Milhaud. Johnston, beginning in 1959, was also a student of John Cage, who encouraged him to follow his desires and use traditional instruments rather than electronics or newly built ones. Unskilled in carpentry and finding electronics then unreliable, Johnston struggled with how to integrate microtonality and conventional instruments for ten years, and struggled with how to integrate microtones into his compositional language through a slow process of many stages. However, since 1960 Johnston has used, almost exclusively, a system of microtonal notation based on the rational intervals of just intonation. Other works include the orchestral work Quintet for Groups (commissioned by the St. Louis Symphony Orchestra), Sonnets of Desolation (commissioned by the Swingle Singers), the opera Carmilla, the Sonata for Microtonal Piano (1964) and the Suite for Microtonal Piano (1977). Johnston has also completed ten string quartets to date. He has received many honors, including a Guggenheim Fellowship in 1959, a grant from the National Council on the Arts and Humanities in 1966, and two commissions from the Smithsonian Institution. Johnson taught composition and theory at the University of Illinois at Urbana-Champaign from 1951 to 1986 before retiring to North Carolina. -
Name Year Date Place Year Date Place Adolphe Sax 1814 11.06
Name Birthday Deathday Year Date Place Year Date Place Adolphe Sax 1814 11.06 Dinant, Belgium 1894 2.07 Paris, France Victor Herbert 1859 2.01 Dublin, Ireland 1924 5.26 New York, NY Scott Joplin 1868 11.24 Bowie City, TX 1917 4.01 New York, NY Otto Harbach 1873 8.18 Salt LakeCity, UT 1963 1.24 New York, NY William C. Handy 1873 11.16 Muscle Shoals, AL 1958 3.28 New York, NY Fred Fisher 1875 9.3 Cologne, Germany 1942 1.14 New York, NY Buddy Bolden 1877 9.06 New Orleans, LA 1931 11.04 Jackson, LA Mamie Smith 1883 5.26 Cincinnati, OH 1946 8.16 New York, NY Isham Jones 1884 1.31 Coalton, OH 1956 10.19 Hollywood, FL Jerome Kern 1885 1.27 New York, NY 1945 11.11 New York, NY King Oliver 1885 5.11 New Orleans, LA 1938 4.08 Savannah, GA Art Hickman 1886 6.13 Oakland, CA 1930 1.16 San Francisco, CA Gus Kahn 1886 11.06 Coblentz, Germany 1941 10.08 Beverly Hills, CA Kid Ory 1886 12.25 La Place, LA 1973 1.23 Honolulu, HI Ma Rainey 1886 4.26 Columbus, GA 1939 12.22 Columbus, GA Luckey Roberts 1887 8.07 Philadelphia, PA 1968 2.05 New York, NY Irving Berlin 1888 5.11 Tumen, Russia 1989 9.22 New York, NY Tom "Red" Brown 1888 6.03 New Orleans, LA 1958 3.25 New Orleans, LA Freddie Keppard 1889 2.27 New Orleans, LA 1933 12.21 Chicago, IL Nick LaRocca 1889 4.11 New Orleans, LA 1961 2.22 New Orleans, LA Jelly Roll Morton 1890 10.2 New Orleans, LA 1941 7.1 Los Angeles, CA Paul Whiteman 1890 4.28 Denver, CO 1967 12.29 New Hope, PA Cole Porter 1891 6.09 Peru, IN 1964 10.15 Santa Monica, CA Fred E. -
Vocal Ecosystems Beyond Pedagogy: Working with Challenges
Literacy Information and Computer Education Journal (LICEJ), Special Issue, Volume 4, Issue 1, 2015 Vocal Ecosystems Beyond Pedagogy: Working With Challenges Jeri Brown Concordia University Canada Abstract Knowledge of vocal improvised music, whether demonstrated in the communication of the two demonstrated by high or low obscure pitch sounds, principal artists. The use of tone matching also the beating of the chest while making music sounds, stimulates the harmonic musical language and mood vocal pitch matching or vocal animation with or in this piece. In both pieces, composer, trumpet and without the use of technology, has paved the way for flugelhorn player Kenny Wheeler creates poetic a steady stream of vocal artists through the years, artistry with voice, tenor and arranged orchestra. each dedicated to vocal exploration. While jazz vocal Horn and voice are well suited to the complex improvisation appears on the surface to involve few material fusing personas in the signature over or no rules, it is a form of communication between layering of cadenzas that reoccur in his works with a artist and listener, where the artist adheres to a set focus on emotion and sentiment [4]. of rules or principles. Here the jazz improviser is The use of vocal language and musical treated as part of an ecosystem, a concept in the intelligence in improvisation creates added biological sciences that comprises a set of stimulation in the improvised vocal delivery. interacting organisms and environments in a particular place. Within the jazz vocal 2. Characteristics of jazz vocal improvisational ecosystem there are various roles, improvisation approaches and activities. -
2018 Program Book 2007 Conference Program.Qxd
Alabama A&M University Choir The Alabama A&M University Choir, directed by Dr. Horace Carney, provides students with the opportunity to experience participation in a cooperative activity. Emphasis is placed on fundamental vocal training, posture, breathing, sight-reading, expressive interpretation and tone development. The choir performs for campus convocations, off-campus concerts, religious services, radio and television appearances as well as a Christmas Musicale and spring concert. There is a prerequisite for participation: students must have had some experience in a high school choir or ensemble. Dr. Horace R. Carney, Jr. was born in Nashville, Tennessee but grew up in Tuskegee, Alabama. He graduated with honors from Tuskegee Institute High School fourth in his class. His post-secondary education includes a Bachelor of Arts in Music at Fisk University (magna cum laude), Master of Arts in Music Theory at the Eastman School of Music as a Woodrow Wilson Fellow, and the Doctor of Philosophy in Music Theory from the University of Iowa. He has attended choral workshops at Potsdam Choral Institute, Sarasota, New York, University of South Florida, and Georgia State University. Dr. Carney’s career in music began in elementary school and continued through high school as a member of the choir, pianist, and leader of a dance band. While in high school, he studied at Tuskegee Institute with Lexine Weeks, Charlotte Giles, and Hildred Roach. His studies continued at Fisk University as a music major, a member of the university choir and the renowned Fisk Jubilee Singers for four years. His professional career includes Talladega College where he served for fourteen years as Choral Director and Acting Chairman of the Music Department, Lincoln University, Lincoln, PA; Coordinator of Choral Activities and Chairman of the Humanities Division for three years; and Sixth Avenue Baptist Church, where he served as Minister of Music and Coordinator of Cultural Affairs. -
Library 3398 Songs, 7.2 Days, 12.30 GB
Library 3398 songs, 7.2 days, 12.30 GB Song Name Artist Album _Secret Agent - Guster Keep It Together – Celtic Twilight Loreena McKennitt '85 Radio Special Thank You They Might Be Giants Then: The Earlier Years (CD 1) 'Ama'ama Israel "IZ" Kamakawiwo'ole Facing Future 'Round Springfield (Medley) The Simpsons Songs In The Key Of Spring… 'S Wonderful Ella Fitzgerald The Best Of the Song Books 'Til Him The Producers "Badge OF Honor"- Jerry Goldsmith Jerry Goldsmith L.A. Confidential "Chief Wiggum, P.I." Main Title The Simpsons Go Simpsonic With The Sim… "Eye On Springfield" Theme The Simpsons Songs In The Key Of Spring… "Itchy & Scratchy" End Credits Theme The Simpsons Songs In The Key Of Spring… "Itchy & Scratchy" Main Title Theme The Simpsons Songs In The Key Of Spring… "Kamp Krusty" Theme Song The Simpsons Go Simpsonic With The Sim… "Krusty The Clown" Main Title The Simpsons Go Simpsonic With The Sim… "Oh, Streetcar!" (The Musical) The Simpsons Songs In The Key Of Spring… "Quimby" Campaign Commercial The Simpsons Go Simpsonic With The Sim… "Scorpio" End Credits The Simpsons Go Simpsonic With The Sim… "Simpsoncalifragilisticexpiala(Annoyed Grunt)Cio… The Simpsons Go Simpsonic With The Sim… "Skinner & The Superintendent" Theme The Simpsons Go Simpsonic With The Sim… "The Itchy & Scratchy & Poochie Show" Theme The Simpsons Go Simpsonic With The Sim… "The Love-Matic Grampa" Main Title The Simpsons Go Simpsonic With The Sim… "The Simpsons" End Credits Theme The Simpsons Go Simpsonic With The Sim… "The Simpsons" End Credits Theme (Jazz Quartet -
U P S Frrai L
* * * * * * * * UPS-PL U Review and Football Game Pictures of Tomorrow at U P S RRAIF L Judy Collins 1:30—Page 6 Concert - Page 4 NOVEMBER * * * * 1965-1966—NO. 7 5, 1965 * * * * Giovanni Costigaii A&L Schedules To Speak at UPS Dr. Giovanni Costigan, profes- sor of history at the University of Swingle Singers Washington, will speak at UPS Tuesday evening, November 17, The Swingle Singers, jazz volalists, appear at the UPS at 8 p.m. Fieldhouse as part of the college's Artist and Lecture Pro- Sponsored by the Academic Lecture Series of the Artist and gram. They perform at 8:15 j.m., Saturday, Nov. 13. Lecture program, Costigan's sub- The Swingle Singers, a group shown later this year. The singers ject will be "The Importance of of seven French singers, are led have also performed at the White Freud for the Modern World." by Ward Swingle. Their music is House for a dinner given by Pres- Macmillan Co. recently pub- Classical with a swing, adding a ident and Mrs. Johnson for Is- lished Dr. Costigan's book, Life jazz beat of bass and drums to rael's Prime Minister, Levi Esh- of Freud, and his lecture should such artists as Bach, Handel and kol. prove interesting to all students, Mozart. "The main ingredients of Ward Swingle, the Alabama- since the interpretation of Freud the Swingle formula," appraises born director of the Swingle Sing- carries meaning in history, litera- Dom Cerulli, "are respect for the ers, organized the group and has ture, education, social work and original writing and for the com- adapted and arranged all of their other fields beside psychology and posers' intentions. -
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 -
Vive Biography Biography Vocal Ensemble
Ikon Arts Management Ltd Suite 114, Business Design Centre 52 Upper Street , London N1 0QH t: +44 (0)20 7354 9199 f: +44 (0)870 130 9646 [email protected] Vive Biography www.ikonarts.com Vocal ensemble “‘you name it, Vive can sing it. A top class set of new material and inventive arrangements rendered with energy, a smile and consummate musical and vocal dexterity ." Tim Wilcock FringeReview Website www. vivevocals .com Contact Holly Skelton Email holly @ikonarts.com Winner of the prestigious Voice Festival UK 2013 competition, Vive is a 6 part vocal group intent on re defining the a cappella sound. These young and talented musicians , mostly recent graduates from the Guildhall School of Music, have already worked with some of th e finest names in jazz and a cappella, including Dame Cleo Lane, the Swingle Singers, and Alec Dankworth. Their run of sell out shows at the Edinburgh Fringe in 2013 received huge critical acclaim – Vive are now one of the hottest young jazz a cappella gr oup s on the circuit. Consisting of an uncommon lin eup of five guys and a girl, Vive combines tight harmonies and award winning arrangements to create a contemporary yet accessible sound through their covers and original songs. Taking inspiration from art ists as diverse as Take 6, the Real Group, and Ella Fitzgerald, Vive brings together pop, fusion, harmony, jazz, and spirituals to create a u nique and uplifting sound world. The result is “ a team that works together to bring great melody to life and lift s ongs up into the air where they belong” – [The Curator, Instrumental].