Spring Weekend Coming

Total Page:16

File Type:pdf, Size:1020Kb

Spring Weekend Coming ®f)e Jleto i)amp§f)tre VOL. 52 ISSUE 21 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, N. H. — FEBRUARY 28, 1963 TEN CENTS Advisers, Grades Tour-Guide Plan To Be Subject “I hope that the program will meet on-the-spot needs as well as those planned in ad­ vance,” said Ronald Barrett, Of Conference Director of the Memorial Un­ ion, about the proposed Tour Guides Program which was ap­ The faculty adviser problem selected because grades affect proved recently by the Univers­ and the grading system will be all students in the University. ity Trustees. It will provide a the topics of discussion at the Several improvements have central information c e n t er , Twelfth Annual Conference on been proposed to perfect the probably at the Union, for par­ Campus Affairs to be held in present grading system. The ents and other visitors and the Memorial Union this Satur­ Educational Research Commit­ have available student guides day, March 2. tee feels that an 8.0 system to show guests around the cam­ Sponsored by the Educational would be fairer to the student pus. Research Committee of the than the 4.0 system. The program which has been Student Senate, two representa­ With this system, the students in the planning for a year needs tives from each campus housing obtaining an 81 and an 89 would funds now to make it a reality, unit will attend. not both receive the same grade, according to Mr. Barrett. Stud­ The purpose of the annual but instead would receive a B- ents wishing to participate as conference is to provide students and a B-I-, respectively. guides will serve on a volun­ with an opportunity to discuss A recent poll conducted by tary basis during the week, but campus-wide problems with the Committee revealed that the receive payment on weekends members of the administration advisor problem exists mainly and holidays. and faculty. in the College of Liberal Arts Signs will be erected around Dr. Paul Mclntire, Director of and the freshman class. campus to direct visitors to the Testing and Placement and More than 80% of the stud­ Union where they can obtain Professor Koch of the Education ents interviewed in L.A. had a information and guide service. Department will lead a panel different adviser than their “I think there is plenty of de­ discussion of the grading system major and over 40% felt that mand for this, especially on in the morning session. he was unqualified as an advisor. Parents Day, Homecoming After a question-answer per­ However, 90% felt that an Weekend, the Honors’ Convoca­ iod, the student conferees will adviser is necessary so three tion, and other events such as break up into small discussion programs have been suggested these”, Barrett continued. groups for the remainder of the to revise the adviser system. “I hope that students who are morning. These are increased student guides will feel more loyalty In the afternoon Dean Mc- participation, a program util­ and identity to the college,” Quade, Dean Nielson and Pro­ izing full-time advisers and the said Barrett. “Maybe they will fessor Pollack will present a University-College Concept in­ even find it worthwhile to do Winter Carnival Queen Cally Neill panel with the adviser problem volving a reorganization of the this during vacations.” as the basis of discussion. freshman and sophomore years Those interested in participat­ The topic of grades was at UNH. ing should contact Mr. Barrett at the Memorial Union. Winter Carnival Over; Spring Weekend Coming The prizes have all Deen won, The next night, Friday, fea­ ander Hall finished second with the snow sculptures lie head­ tured the Carnival Ball with a time of 27.0 seconds and less and unattended, the athletes Bob Hall and his Orchestra, Denis Allen of Pi Kappa Alpha nurse their bruises and bunions with many fraternities also wound up in third place in 38.0 and the Outing Club works having parties. seconds. feverishly over the balance The snowshoe races began at sheets. The year’s big weekend Saturday afternoon, “New­ 3:00 p.m. Because of a fifteen- Winter Carnival is over. port” came to New Hampshire; foot drop near the starting line, The Carnival officially began a group of 30 musicians who had there were several very interest­ on Thursday night with the previously appeared at the New­ ing falls which appeared to put judging of the snow sculptures. port Jazz Festival played from all the spectators in good spir­ In the Dormitory Division the 1:00 to 5:00 p.m. in the Field its. Irregularities in the course winers were McLaughlin Hall House. and a brook which had to be and a tie between East-West On Sunday afternoon the out­ crossed added to the pitfalls and Gibbs Hall. SAE captured door events took place at Moose which the racers encountered. the Fraternity Division, and Mountain. The program was Nonetheless Richard Wyile there was no Sorority Division originally planned to include of Fairchild Hall completed the winner because, as one judge a saucer slide as well as slalom course in 1:56.3 seconds to take stated, “We didn’t feel that any and snowshoe events, but lack top honors in the event. Tom of the sorority sculptures de­ of well packed snow on the only Buckley of Sigma Beta finished served an award.” available slope forced the event second in 1:56.6, and Roger After the judging of the to be cancelled. The skiing Countway of Alexander Hall sculptures came an ice show event, itself, varied from a finished third in 2:05.-. presented by the members of the slalom at the top of the course To close out Winter Carnival, North Shore Skating Club. At to a controlled downhill run at the Memorial Union sponsored 7:45 the torch arrived from the bottom. Steady snowfall a couples Moonlight Bowling Members of the Hood House staff present man, Mrs. Harriet B. Nason, Dr. Charles H. Cannon Mountain. It took the and a deep rut hampered many Tournament. This is to be a drugs to Larry Golden which they have col­ Howarth and Larry Golden. Golden, who is UNH runners thirteen hours of the skiers, but several man­ weekly Sunday night feature of lected for the Los Negros Leper Colony. chairman of the Student Senate Peace Corp. and eight minutes to cover the aged to turn in good times for the Union. From left to right are Mrs. Mary S. Gil­ Cmmittee is heading up the drive. 112 miles, and Pat Carrol won the event. Steve Found of Phi Now that Winter Carnival is two tickets to the Jazz Festival Mu Delta won the race in 36.0 over, UNHers can look ahead by guessing closest to this time. seconds, Tony Gilmore of Alex­ to May and Spring Weekend. Los Negros Fund Drive To Be Held March 3 - 9 Politics and Poker The Los Negros Leper Col- So far the Student Senate 3. Introduce an agricultural By Paul McEachern oy Fund Drive, originally Peace Corps Committee, The program. Aeduled for February 17-23 New Hampshire and the Alumni 4. Replace adobe huts with ce­ The UNH administrative team has Yesterday the House passed a bill ill be held this coining week, House have collected over 200 ment block houses. providing for expansion of the boiler .ccording to Larry Golden, dollars to send to Bolivia. Bul­ 5. Utilization of the local riv­ just abut finished its rundown of the .hairman of the Student Sen­ lock estimates that it will cost er for irrigation and electri­ capital budget requests before the unit. The new capacity is needed to te Peace Corp Committee and about 3,000 dollars to operate fication of the Colony. cope with the needs of the new dining hairman of the drive, members the Colony in the coming year. 6. Introduction of small indus­ House Education Committee. Last f Student Senate will visit ev- A considerable supply of tries. week UNH presented bills for a new hall which will be finished ahead of ryone who lives in a University drugs has been collected 7. Phasing out of donor aid. Chemistry building and a new high time. lousing unit to collect dona- through private citizens and the 8. Transition from a Peace ions of drugs, clothing or mon- staff of Hood House. Corps staff to a Bolivian rise dorm. The chem building will be As I have seen it, the university can y. One interested donor who had staff. built next to Kingsbury Hall and the be well pleased with its budget rep­ The Colony which is located heard of the project recently Golden has asked that stud­ Lear Santa Cruz, Bolivia is un- sent a carton of medical supplies ents contact their family doc­ dorm will go on the former site of resentation before the legislature. er the direction of Donald Bul- from Texas. tors to ask for drug supplies. Ballard Hall. Jere Chase and others gave a smooth ock, a 1960 graduate of UNH Bullock has these eight ob­ Most doctors receive samples rho is now in the Peace Corp. jectives for the colony: which they are willing to donate Both these buildings will wipe out succinct presentation of the univers­ Los Negros has a total of 80 1. Raise the living standard for the project. All those stud­ existing parking areas. ity’s needs. Other state agencies can n-patients and 120 out-patients. from subsistence to a level ents not living in University Almost no funds are available of adequate nutrition and Housing units are invited to The only other major capital re­ take a lesson from the university on or the support of these patients health.
Recommended publications
  • JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
    From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines.
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • SLINGERLAND a DRUMS Sommur!
    has a Coleman Hawkins LP coming Jaki Byard quintet and big band... Strictly Ad Lib called Soul, with Hawk joined by Warren Covington’s Tommy Dorsey Kenny Burrell, Ray Bryant, Osie band may figure in a British band (Continued from page 8) Johnson, and Wendell Marshall. swap with a Cha-Cha-Cha band Bryant taught Hawk Greensleeves headed by Rico coming here . Wess . Willie (The Lion) Smith, for the date . Bob Corwin took Sidney Becht recovered from a re­ Sonny Terry, Zoot Sims, Sol Yaged, over the piano chair from Bill Trig­ cent illness. He had a bronchitis Candido, and Big Miller had guest lia with Anita O’Day . United attack in mid-fall . George Lewis Shots on the United Artists record­ Artists cut Martin Williams’ History is figuring in a possible swap for ing of the Living History of Jazz at of the Jazz Trumpet LP late in England, in conjunction with Lewis' the Apollo, with Herb Pomeroy’s December . Roy Haynes’ group, European tour this spring ... In­ band and narrator John McLellan. with Hank Mobley, Curtis Fuller, siders in the east point out that Symphony Sid reports he plans to Richard Wyandes, and Doug Wat­ Jack Lewis first cut Shorty Rogen take a septet to Europe in the spring kins, did a concert for the Orange and the early west coast sides, not for a Birdland tour, and hopes to County community college jazz club Bob York as carried in Los Angeles include Johnny Griffin, Lee Morgan, in mid-December. Ad Lib recently. Curtis Fuller, Pepper Adams, Tom­ Lou Donaldson signed with Blue Ed Thigpen is reported leaving my Flanagan, and Bud Powell .
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1992
    Kattl hlCL^WOOD I ? 7 2 W Toofc ofExcellence In every discipline, outstanding performance springs from the combination of skill, - vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics -> Jazz At Tanglewood WM Friday, Saturday, and Sunday August 28, 29, and 30, 1992 Tanglewood, Lenox, Massachusetts '-•' Friday, August 28, at 7:30 p.m. THE MODERN JAZZ QUARTET RAY CHARLES Koussevitzky Music Shed Saturday, August 29 at 4 :30 p.m. CHRISTOPHER HOLLYDAY QUARTET REBECCA PARRIS and the GEORGE MASTERHAZY QUARTET Theatre-Concert Hall at 7:30 p.m. MAUREEN McGOVERN and MEL TORME with the HERB POMEROY BIG BAND Koussevitzky Music Shed Sunday, August 30 at 4 :30 p.m. GARY BURTON AND EDDIE DANIELS Theatre-Concert Hall at 7:30 p.m. DAVE BRUBECK QUARTET WYNTON MARSALIS Koussevitzky Music Shed ARTISTS The Modern Jazz Quartet Gibbs in the Woody Herman Second Herd. The following year he rejoined the Gillespie band, eventually becoming a founding member of the Modern Jazz Quartet. Among the many compositions Mr. Jackson contributed to the group, "Bags' Groove" has become a classic. During the members' annual vacation from the MJQ, Milt Jack- son assembles various groups of musicians to record albums under his own name and to play occasional engagements. Recently he returned to his bebop roots for an album aptly entitled Be Bop. Bass player Percy Heath was born in Making a return Tanglewood appearance, Wilmington, North Carolina, and grew up the Modern Jazz Quartet has a unique in Philadelphia.
    [Show full text]
  • Charlie Mariano and the Birth of Boston Bop
    Charlie Mariano and the Birth of Boston Bop By Richard Vacca The tributes to alto saxophonist Charlie Mariano that have appeared since his death on June 16, 2009 have called him an explorer, an innovator, and a musical adventurer. The expatriot Mariano was all of those things—a champion of world music before anyone thought to call it that. Mariano was known for the years he spent crisscrossing Europe and Asia, but his musical career began in Boston, the city where he was born. In the years between 1945 and 1953, he was already an explorer and innovator, but his most important role was as a leader and catalyst. He helped build the founda- tion of modern jazz in Boston on three fronts: as soloist in the Nat Pierce Orchestra of the late 1940s, as a bandleader cutting the records that introduced Boston’s modern jazz talent to a wider world in the early 1950s, and as the founder of the original Jazz Workshop in 1953. Born in 1923, Mariano grew up in Boston’s Hyde Park district in a house filled with music. His father loved opera, his sister played piano, and starting in his late teens, Charlie himself played the alto saxo- phone, the instrument for which he was best known throughout his life. By 1942, Mariano was already making the rounds on Boston’s buckets of blood circuit. The following year he was drafted. It was Mariano’s good fortune to spend his two years in service playing in an Army Air Corps band, and while stationed in California, he heard Charlie Parker for the first time.
    [Show full text]
  • TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD
    Bio information: JASON ROBINSON Title: TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD 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 / AVANT-JAZZ Saxophonist/Composer Jason Robinson Takes a Mythic Journey with New Album: Tiresian Symmetry featuring Robinson with All-Star Band: George Schuller, Ches Smith, Marty Ehrlich, Liberty Ellman, Drew Gress, Marcus Rojas, Bill Lowe, JD Parran A ubiquitous and often pivotal figure in the stories and myths of ancient Greece, the blind prophet Tiresias was blessed and cursed by the gods, experiencing life as both a man and a woman while living for hundreds of years. In saxophonist/composer Jason Robinson’s polydirectional masterpiece Tiresian Symmetry, he doesn’t seek to tell the soothsayer’s story. Rather for his seventh album as a leader, he’s gathered an extraordinary cast of improvisers to investigate the nature of narrative itself in a jazz context. The music’s richly suggestive harmonic and metrical relationships elicit a wide array of responses, but ultimately listeners find their own sense of order and meaning amidst the sumptuous sounds. For Robinson, a capaciously inventive artist who has flourished in a boggling array of settings, from solo excursions with electronics and free jazz quartets to roots reggae ensembles and multimedia collectives, Tiresian Symmetry represents his most expansive project yet. “I was attracted to the myth of the soothsayer, who tells the future even when it’s not welcome information,” Robinson says. “But on a more technical level I was intrigued by the numerical relationships.
    [Show full text]
  • Berklee Oral History Project BCA-011 Finding Aid Prepared by Audrey Abrams, Simmons GSLIS Intern
    Berklee Oral History Project BCA-011 Finding aid prepared by Audrey Abrams, Simmons GSLIS intern This finding aid was produced using the Archivists' Toolkit July 31, 2014 Describing Archives: A Content Standard Berklee College Archives 2014/02/11 1140 Boylston St Boston, MA, 02215 617-747-8001 Berklee Oral History Project BCA-011 Table of Contents Summary Information ................................................................................................................................. 3 Historical note................................................................................................................................................4 Scope and contents........................................................................................................................................ 4 Arrangement...................................................................................................................................................4 Administrative Information .........................................................................................................................4 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 8 - Page 2 - Berklee Oral History Project BCA-011 Summary Information Repository Berklee College Archives Creator Berklee College
    [Show full text]
  • Berklee: 1960-1995 Practical Preparation for Today’S Musical Careers
    Berklee: 1960-1995 Practical Preparation for Today’s Musical Careers Courtesy of Berklee College of Music Archives Courtesy of Berklee College of Music Archives Courtesy of Lee Berk Lawrence Berk’s first true measure of success came when his students became teachers and partners in his vision for the school. Robert Share, Joe Viola, Herb Pomeroy, Bill Leavitt and Dean Earl, students from Shillinger House, went on to teach at Berklee. Shortly thereafter, a new generation of faculty started to develop in the likes of drummer Alan Dawson, saxophonist Charlie Mariano, reed player John LaPorta and trombonist Phil Wilson. In 1966, Berklee award- Courtesy of Lee Berk ed its first bachelor of music degree. A member of that graduating class, Stephen Gould, later returned to the school to teach film scoring. Berklee School of Music became non-profit with an independent board of trustees in the early 1960s, insuring its future amongst institutions of higher learning. The curriculum continued to reflect new developments in popular music, such as rock and roll, soul, funk, and jazz-rock fusion. The first college course on jingle writing was added in 1969. To accommodate the growing student population, Berklee acquired the Hotel Bostonian on Boylston Street in 1966. With Lawrence Berk at the helm, Berklee continued to grow at an accelerated pace. In less than two decades, the school acquired the Hotel Biltmore and the Fenway Theater on Massachusetts Avenue, and the State Street Bank building on Boylston Street. In 1970, Berkelee School of Music became Berklee College of Music, and by 1976, was a fully accredited four-year college with over 2200 full-time students.
    [Show full text]
  • CYNTHIA HILTS 'Lyric Fury'
    CYNTHIA HILTS ‘Lyric Fury’ CYNTHIA HILTS composer, piano, voice JACK WALRATH - trumpet LILY WHITE - alto & tenor sax LISA PARROTT - baritone & soprano sax DEBORAH WEISZ - trombone MARIKA HUGHES - cello RATZO B. HARRIS - bass SCOTT NEUMANN - drums Blond Coyote Records BCR 003 www.CynthiaHilts.com RADIO ADDS - 16 JAN 2017 STREET DATE - 13 JAN 2017 As the name of composer & pianist Cynthia Hilts’s octet Lyric Fury implies, her writing and playing are defined by powerful contrasts. TRACK LISTING She likes to build from long, meditative passages to explosive endings. The technique of tension and release seldom yields more 1. THOSE BASINITES / 5:36 satisfaction or surprise. As heard in the brisk, striking originals on Lyric Fury, Hilts’s third jazz album, her orchestrations can go in 2. TEACHER / 7:29 different directions and different keys in the same moment, within the same beat or phrase. Her music can fill the senses even as it 3. BLUES FOR THE BRONCHS / 6:56 swings like crazy. Imagine a peaceful waltz through the meadow and a frantic run through a thunderstorm happening together, 4. PEACE NOW / 8:03 music that sounds like a celestial collision of Mingus and Debussy. 5. THREE WISHES / 8:22 Born in Tucson in 1958, Hilts grew up in a musical family. Her father, a doctor, played boogie-woogie piano. Her mother, an activ- 6. CELEBRATION / 7:58 ist and volunteer teacher, played classical music and was a Broad- way aficionado who directed community musicals. The last of five 7. PLEASE, MERCY / 9:39 children, Hilts started playing music at two, studied classical from age five and began composing at 12.
    [Show full text]
  • Piano Bass (Upright And/Or Electric)
    January 2017 VOLUME 84 / NUMBER 1 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 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 Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Cynthia-Hilts-Bio
    C Y N T H I A H I L T S Biography What's in a name? Quite a bit when it comes to the handle of composer and pianist Cynthia Hilts’s intriguing octet, Lyric Fury. As the name suggests, her writing is defined by powerful contrasts. She likes to build from long, meditative passages to explosive endings. The tried and true technique of tension (and more tension) and release seldom yields more satisfaction or surprise. But as witness the brisk, striking originals on Lyric Fury, Hilts’s captivating new album, her orchestrations can go in different directions (and different keys) in the same moment, within the same beat or phrase. Imagine, if you will, a peaceful waltz through the meadow and a frantic run through a thunderstorm happening at the same time. Her music can fill the senses even as it swings like crazy. Together for several years, Lyric Fury boasts a lineup of top-drawer players with highly distinctive “A” games of their own. They include trumpet great and onetime Mingusite Jack Walrath, saxophonists Lisa Parrott and Lily White (who co-produced the album with Hilts), trombonist Deborah Weisz, cellist Marika Hughes, bassist Ratzo Harris, and drummer Scott Neumann. “When I first put the band together, I didn’t know most of the musicians,” confesses Hilts. “But I got really good at cold calling—hey, how would you like to work in a band that sounds like a celestial collision of Mingus and Debussy?” Over time, the members of Lyric Fury not only bought into Hilts’s demanding avant-meets-mainstream strategies, they found ways to enhance them.
    [Show full text]
  • Herb Pomeroy
    Music at MIT Oral History Project Herb Pomeroy Interviewed by Forrest Larson December 14, 1999 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by: University of Connecticut, Center for Oral History, Tapescribe, from the audio recording Transcript Proof Readers: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2011 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Family and early musical experience (00:18—CD1 00:18). ........................................................... 1 Mother a jazz pianist—father an amateur musician—family tradition of dentistry—piano lessons —big name bands in Boston—beginning trumpet—early band leading and performing—Anthony Gentile 2. Education and musical training (24:14—CD1 24:14) ...................................................................... 9 Shorty Perry—Williston Academy—Harvard—Schillinger House educational methods—GI Bill of Rights—Joe Viola—Bob Share—Richard Bobbitt—intervallic relationship of notes in arranging 3. Changing jazz styles and the significance of Duke Ellington (56:49—CD2 08:22) ............. 20 Jazz as dance music—Lionel Hampton’s band—emergence of bebop—Louis Armstrong—Dixieland— Dizzy Gillespie—Charlie “Bird” Parker—Duke Ellington 4. Music at MIT (1:07:54—CD2 19:28) ..................................................................................23 Klaus Liepmann—hired as jazz band director—MIT students and Berklee students—MIT Techtonians Note on timing notations: Recording of this interview can be found either as one continuous file or as split up over two audio CDs. Timings are designated in chapter headings in both formats, with the timing on the full file preceding the timing on the CD version. iii Contributors Herb Pomeroy (1930-2007) was the founding director of MIT Concert and Festival Jazz Bands (1963-1985).
    [Show full text]