DOCSLIB.ORG

SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions .................................................................. 2 Transitions: A Contrarian’s Delight.................................... 6 Remembering Baltimore’s First Lady of Jazz.................... 8 John Thomas Quartet: Hotel Indigo’s Poet’s .................. 10 BJA Presents Father’s Day Jazz .................................... 12 BJA Member Benefits...................................................... 12 VOLUME FIFTEEN • ISSUE TWO • THE BJA NEWSLETTER • WWW.BALTIMOREJAZZ.COM BRANDON WOODY Rising Trumpet Star By Mitch Mirkin I first encountered trum- peter Brandon Woody, now aged 20, last August, when he led an open-mic jam ses- sion at the Motor House on North Avenue with his PHOTO COURTESY OF ALEXANDER JARMAN group, Upendo (Swahili for “love”). I then caught one of Baltimore Kissa Society his monthly gigs at An die Musik on North Charles. At By Bob Jacobson both performances, three Since 2016, BJA member Alexander Jarman has hosted the monthly jazz things about the trumpeter record listening sessions of the Baltimore Kissa Society (BKS). Named for impressed me. the cafés (kissa) where people in over 600 Japanese cities and towns gath- One was his fiery, intense ered in the 1950s-’70s to hear jazz recordings, BKS has afforded its mem- yet lyrical and fluid style. bers listening opportunities of everyone from Django Reinhardt to Sun Ra; PHOTO CREDIT: MITCH MIRKIN He reminded me of Freddie themed sessions have included the jazz influence on Steely Dan and Afro- Hubbard, who once described his own playing as “very futurism. loose, elastic.” Woody played blazes of short, repeated, Jarman, 36, is the Walters Art Museum’s manager of community pro- melodically complex riffs that grew in intensity, driven by grams and contemporary art initiatives. He began listening to jazz in his the funky, pumping keyboard and drums behind him. But teens in Cincinnati. Before coming to Baltimore in 2014 he curated a jazz he also blew longer, sweet melodic lines reminiscent of Clif- series at the San Diego Museum of Art. He has had DJ residencies at Disko- ford Brown. bar and The Elephant. The second thing was the dynamic variation in Woody’s Bob Jacobson interviewed Jarman on January 26th, 2019 at his gallery, playing. There were soft, quiet interludes and dramatic Cardinal. crescendos. I’ve been to too many live-music events where the volume was painfully and relentlessly loud—and yes, BJ: How did the Baltimore Kissa Society start? I’m talking about jazz and not heavy metal. AJ: In San Diego a lot of musicians would invite others to lis- The third quality that impressed me about this young, tening sessions at their houses. Not long after moving to Bal- congenial brass man was his stage presence. There was an timore I had an opportunity to use Maryland Art Place for one night. I decided to host a jazz record listening session. I (continued on page 4) was new to the city and wanted to find other people. I put it BJA Presents Father’s Day Jazz on Facebook and thirty people showed up, mostly strangers. See page 12 I thought, “Okay, this is a thing. I think people are into it.” (continued on page 5) The Baltimore Jazz Alliance is a 501(c)(3) tax exempt organization. JAZZ JAM SESSIONS Where the cats congregate The Baltimore Jazz Alliance (BJA) is a grass-roots organization of jazz to groove and grow! aficionados, musicians and venues dedicated to enhancing and promoting jazz in Baltimore and the surrounding areas. New members sharing this * NOTE: As these events may be subject to change, it’s always a passion are always welcome as the BJA good idea to CALL AHEAD FOR CONFIRMATION! continues its efforts to build a stronger and better networked jazz scene. SUNDAYS Together we can help this music thrive Marie Louise Bisro – 8-11 in the region and reward listeners and Germano’s – 7-10 111 West Centre Street. Hosted by Tom Lagana. musicians alike. Weekly jazz jam hosted by Mike ‘n’ Ike. No keyboard at this session. 904 N. Charles Instrumentalists and vocalists are welcome. 300 Street, 410-385-9946. BJA Priorities South High Street. 410-752-4515. • To develop new audiences for jazz • To strengthen communication WEDNESDAYS within the jazz community MONDAYS 49 West Café – 7-10 • To improve media relations on An die Musik Live! – 7:30-9:30 49 West Street, Annapolis. Hosted by John Starr behalf of the jazz community 409 N. Charles Street. Jam sessions SECOND and house band. FIRST & THIRD Wednesdays. and FOURTH Mondays co-hosted by Alex Musicians and singers very welcome! Delicious • To bring greater visibility to the Meadow and Christian Hizon. $5 for musicians and entire array of jazz offerings in the and reasonably priced food and drink available! $8 for others. Baltimore region $10 cover. Reservations 410-626-9796 • To provide greater access to performance opportunities for The Avenue Kitchen – 7-10 HOMEslyce – 8-11 Baltimore-area jazz musicians 911 W 36th Street. Hosted by guitarist Michael 336 N. Charles Street. Todd Marcus leads jazz jam Joseph Harris, featuring the music of Django sessions FIRST Wednesdays. 443-501-4000 Visit www.baltimorejazz.com Reinhardt, Gypsy jazz, swing, trad, Dixieland, for information about our blues, standards, bossa nova, Gypsy rumba, THURSDAYS accomplishments and future goals. musette waltz, and bebop. Room for dancing. Full bar with extensive draft beer selection and The Place Lounge – 7:00-10:00 315 W. Franklin Street. Jam session/open mic is Baltimore Jazz Alliance food menu. No cover. 443-961-8515 hosted by Spice every THIRD THURSDAY. 847 North Howard Street Musicians and vocalists are welcome. Baltimore, Maryland 21201 Terra Cafe – 8:30-11:30 410-547-2722 101 E 25th Street. Clarence Ward III presents Please direct your The Session. All are welcome to come out and questions and comments to: express themselves. No cover, one drink [email protected] minimum. Come on in and swing with us. If you know of local jam 410-777-5277 sessions, or if any of the jazz jam sessions listed are BJA BOARD TUESDAYS discontinued, please inform Tyrone Crawley Randallstown Community Center – 6-8 the editor at: Alice Downs 3505 Resource Drive, Randallstown. Sponsored [email protected] Liz Fixsen, Secretary by BJA. Hosted by Derrick Amin. Jam sessions/ Vernard Gray book and poetry live reading. Musicians and vocalists are welcome. 410-887-0698 Robin Houston, Treasurer Ian Rashkin, President Theresa Sise The Judge’s Bench – 8:30-Midnight Rená Sweetwine, Vice President 8385 Main Street, Ellicott City. Charlie Schueller Barry Glassman, Founder and Emeritus leads informal jam sessions on the FIRST TUESDAY of each month. 410-465-3497 Camay Calloway Murphy, Emerita Mark Osteen, President Emeritus . NEWSLETTER Gail Marten, Jazz Palette Editor/Designer www.baltimorejazz.com PAGE 2 / SPRING 2019 BALTIMORE JAZZ ALLIANCE 28th Baltimore Chamber Jazz Society Year BILL O’CONNELL’S LATIN JAZZ ALL-STARS Sunday, April 7, 2019 | 5 pm Bill O’Connell, piano; Gary Smulyan, baritone saxophone; Ralph Bowen, tenor saxophone; Craig Handy, alto saxophone; Conrad Herwig, trombone; Alex Sipiagin, trumpet; Andrea Brachfeld, flute; Lincoln Goines, bass; Robby Ameen, drums $45 General Admission | $43 BMA Members/Seniors www.billoconnell.net CHRISTIAN SANDS TRIO Sunday, May 5, 2019 | 5 pm Christian Sands, piano; Jerome Jennings, drums; Eric Wheeler, bass $45 General Admission | $43 BMA Members/Seniors www.christiansandsjazz.com Please note: Programming is subject to change. Student tickets ($10) will be sold only on day of concert, subject to availability, with valid student ID. Buy Tickets Online:http://www.instantseats.com THE BALTIMORE MUSEUM OF ART BJA Members receive $2 discount off general admission price! 10 Art Museum Drive Just indicate your affiliation when ordering tickets. Baltimore, MD 21218 The Baltimore Chamber Jazz Society is a non-profit organization and is supported by a grant from the BALTIMORE CHAMBER JAZZ SOCIETY Maryland State Arts Council, an agency dedicated to P.O. Box 16097 Baltimore, MD 21218 cultivating a vibrant cultural community (410) 385-5888 where the arts thrive. www.baltimorechamberjazz.org Support jazz in Baltimore. Join BJA! Details on page 15 BALTIMORE JAZZ ALLIANCE PAGE 3 /SPRING 2019 BRANDON WOODY Center, on North Howard Street. “He taught us about the history, he talked about his ex- Rising Trumpet Star periences with very notable jazz musicians. He taught us about the scene,” recalls Woody. (continued from first page) An alumnus of the Baltimore School for the Arts and uninhibited joy, a sheer PHOTO COURTESY OF BRANDON WOODY Peabody Youth Orchestra, Woody built his chops partly exuberance, about the through playing classical works, winning concerto compe- music that you don’t titions along the way. After stints at the Brubeck Institute and often see with jazz play- Manhattan School of Music, he returned to Baltimore last ers. Woody is no sullen, spring. He now has a monthly gig at An die Musik, and a brooding type—and any- CD of original music coming out this spring. On May 18th, thing but wooden—when he will be starting a monthly series at Eubie Blake. he’s up on stage. He’s a Baltimore trumpeter Theljon Allen continues to be a key physical player, moving mentor for him, and while Woody’s talent and ambition are about the stage, his knees likely to propel him toward wider acclaim, he is enthusiastic bending, upper body turning and twisting as he coaxes ex- about the musical opportunities that lie ahead for him right pressive lines and exquisite high notes out of his Bach in Charm City. Stradivarius trumpet. “I grew up here, went through all these programs and Check out the YouTube video of tenor man George Adams schools here, and now I’m playing at some of the venues I’ve playing “You Don’t Know What Love Is” at the 1989 Mt.
Load more

Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Juilliard Jazz Ensembles
    The Juilliard School Presents Juilliard Jazz Ensembles Monday, January 29, 2018, 7:30pm Paul Hall The Music of Miles Davis Wynton Marsalis, Guest Coach Dizzy Gillespie Ensemble Swing Spring (Miles Davis, arr. Joel Wenhardt) Flamenco Sketches (Miles Davis and Bill Evans, arr.Andrea Domenici) Nardis (Miles Davis, arr. Jeffery Miller) Paraphernalia (Wayne Shorter, arr. Adam Olszewski) Half Nelson (Miles Davis, arr. David Milazzo) David Milazzo, Alto Saxophone Anthony Hervey, Trumpet Jeffery Miller, Trombone Andrea Domenici, Piano Joel Wenhardt, Piano Adam Olszewski, Bass Cameron MacIntosh, Drums Elio Villafranca, Resident Coach Intermission (Program continues) Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 The Dave Brubeck Ensemble Dig (Miles Davis, arr. Dave Brubeck Ensemble) Fall (Wayne Shorter, arr. Dave Brubeck Ensemble) Milestones (Miles Davis, arr. Dave Brubeck Ensemble) Circle (Miles Davis, arr. Dave Brubeck Ensemble) So Near, So Far (Tony Crombie and Bennie Green, arr. Dave Brubeck Ensemble) Zoe Obadia, Alto Saxophone Noah Halpern, Trumpet Jasim Perales, Trombone Joseph Block, Piano Isaiah Thompson, Piano Adam Olszewski, Bass Francesco Ciniglio, Drums Helen Sung, Resident Coach Program order and selections are subject to change.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • Clyde Mcphatter 1987.Pdf
    Clyde McPhatter was among thefirst | singers to rhapsodize about romance in gospel’s emotionally charged style. It wasn’t an easy stepfor McP hatter to make; after all, he was only eighteen, a 2m inister’s son born in North Carolina and raised in New Jersey, when vocal arranger and talent manager Billy | Ward decided in 1950 that I McPhatter would be the perfect choice to front his latest concept, a vocal quartet called the Dominoes. At the time, quartets (which, despite the name, often contained more than four members) were popular on the gospel circuit. They also dominated the R&B field, the most popular being decorous ensembles like the Ink Spots and the Orioles. Ward wanted to combine the vocal flamboyance of gospel with the pop orientation o f the R&B quartets. The result was rhythm and gospel, a sound that never really made it across the R &B chart to the mainstream audience o f the time but reached everybody’s ears years later in the form of Sixties soul. As Charlie Gillett wrote in The Sound of the City, the Dominoes began working instinctively - and timidly. McPhatter said, ' ‘We were very frightened in the studio when we were recording. Billy Ward was teaching us the song, and he’d say, ‘Sing it up,’ and I said, 'Well, I don’t feel it that way, ’ and he said, ‘Try it your way. ’ I felt more relaxed if I wasn’t confined to the melody. I would take liberties with it and he’d say, ‘That’s great.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • Ezra Weiss Press Quotes
    Ezra Weiss – Press/We Limit Not the Truth of God “This album is a raw statement and commentary of the times in which we live. This album is an emotional and musical roller-coaster ride, provocative and full of risk. This album is a musical version of Edvard Munch’s “Scream” combined with the calm of Monet. This album is one of the most provocative I’ve heard. I love this album and hate the fact that it needed to be made. Highly recommended.” -Andrew Read, Jazz in Europe “The piece brims with triumphant joy, vividly depicted by Weiss’ choral arrangement.” -Matt Micucci, Jazziz “Music that plows through a sea of dark emotions on the way to defiantly proclaiming that truth will prevail. This is a strong and inspiring work that could provide catharsis and hope to someone overwhelmed by the world we currently live in.” -Jerome Wilson, All About Jazz “The music provides a healthy primer on contemporary orchestral jazz, with moments that evoke bands led by Thad Jones and Mel Lewis, Maria Schneider, and even current rising stars like Miho Hazama. In their pithy solos, reedmen John Nastos and Renato Caranto make a strong case for further investigation of the Pacific Northwest jazz scene.” -Martin Johnson, JazzTimes “There have been periodic powerful social commentaries throughout jazz history, with examples such as Billie Holiday’s Strange Fruit, John Coltrane’s Alabama or Max Roach’s Tryptic. This album is being suggested as a worthy addition to that group... One of the most powerful and ambitious social comment albums ever released, and remarkable throughout.” -Keith Black, Winnipeg Free Press “One of those sets that'll wind up being passed down to future generations, Weiss knows how to eloquently state his case, with swing and style for all.” -Chris Spector, Midwest Record “Richly textured sections close things out on Wayne Shorter’s “Footprints” which show rich ideas audibly as well as intellectually.” -George W.
    [Show full text]
  • Boplicity / Questions Area of Study D / Jazz
    BOPLICITY / QUESTIONS AREA OF STUDY D / JAZZ 1. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. EXTRACT EXTRACT EXTRACT EXTRACT 5 EXTRACT EXTRACT 1 1 2 2 MINS 1 2 Answer questions (a-e) in relation to extract 1 only. Question (f) is a comparison of extract 1 with extract 2. Each extract will be played 3 times with a 30 second pause between each playing, a 5 minute pause after the second playing of extract 2 and a 7 minute silence after the last playing for you to complete your answer. You now have 30 seconds to read the questions. 20 BOPLICITY PG. 1 BOPLICITY / QUESTIONS AREA OF STUDY D / JAZZ First, you will hear an extract taken from ‘Boplicity’, recorded by Miles Davis and a group of musicians in 1949. An outline of the structure of the extract is printed below. Head Solos Section A section A section B section A section (based upon ‘AABA’ form) a. This extract is performed by an ensemble including trumpet, alto [ 3 ] saxophone, trombone, piano, double bass and drum kit. Tick √ the boxes below to indicate which other three instruments you can hear in the extract. Instrument TICK - √ Flute Oboe Clarinet Baritone Saxophone French horn Tuba BOPLICITY PG. 2 BOPLICITY / QUESTIONS AREA OF STUDY D / JAZZ b. Underline the name given to this type of ensemble from the list [ 1 ] below Sextet | Octet | Nonet | Big band c. Describe the texture and use of instruments in the ‘Head’ section [ 3 ] of this extract.
    [Show full text]
  • Miles Davis Featuring Sonny Rollins
    Miles Davis Dig mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Dig Country: Japan Released: 2015 Style: Bop, Hard Bop MP3 version RAR size: 1320 mb FLAC version RAR size: 1489 mb WMA version RAR size: 1430 mb Rating: 4.9 Votes: 392 Other Formats: AU VOC TTA AC3 VOX AAC MMF Tracklist A1 Dig 7:33 A2 It's Only A Paper Moon 5:23 A3 Denial 5:38 B1 Bluing 9:55 B2 Out Of The Blue 6:14 Credits Alto Saxophone – Jackie McLean Artwork – Sherlock Bass – Tommy Potter Drums – Art Blakey Liner Notes – Ira Gitler Piano – Walter Bishop, Jr. Remastered By – Van Gelder* Supervised By – Bob Weinstock Tenor Saxophone – Sonny Rollins Trumpet – Miles Davis Notes Recorded on October 5, 1951. Tracks A1 & A2 first released on 10" LP, Prestige PRLP 124 Tracks B1 & B2 first released on 10" LP Prestige PRLP 140 Other versions Category Artist Title (Format) Label Category Country Year Miles Davis Miles Davis Featuring LP 7012, PRLP Featuring Prestige, LP 7012, PRLP Sonny Rollins - US 1956 7012 Sonny Prestige 7012 Dig (LP, Comp, Rollins Mono, RM) Miles Davis Original Miles Davis Featuring Jazz OJC-005, P-7012, Featuring OJC-005, P-7012, Sonny Rollins - Classics, France 1982 68452 Sonny 68452 Dig (LP, Album, Prestige, Rollins RE) Carrere Miles Davis Miles Davis Featuring LP 7012, PRLP Featuring Prestige, LP 7012, PRLP Sonny Rollins - US Unknown 7012 Sonny Prestige 7012 Dig (LP, Comp, Rollins Mono, RE, RM) Miles Davis Miles Davis Featuring Universal Featuring Sonny Rollins - Classics & UCCO-9038 UCCO-9038 Japan 2007 Sonny Dig (CD, Jazz, Rollins Album, Mono,
    [Show full text]
  • Boplicity / Mark Scheme Area of Study D / Jazz
    BOPLICITY / MARK SCHEME AREA OF STUDY D / JAZZ 1. You will hear two extracts of music, both performed by jazz ensembles. You may wish to place a tick in the box each time you hear the extract. EXTRACT EXTRACT EXTRACT EXTRACT 5 EXTRACT EXTRACT 1 1 2 2 MINS 1 2 Answer questions (a-e) in relation to extract 1 only. Question (f) is a comparison of extract 1 with extract 2. Each extract will be played 3 times with a 30 second pause between each playing, a 5 minute pause after the second playing of extract 2 and a 7 minute silence after the last playing for you to complete your answer. You now have 30 seconds to read the questions. 20 BOPLICITY PG. 1 BOPLICITY / MARK SCHEME AREA OF STUDY D / JAZZ First, You will hear an extract taken from ‘Boplicity’, recorded by Miles Davis and a group of musicians in 1949. An outline of the structure of the extract is printed below. Head Solos Section A section A section B section A section (based upon ‘AABA’ form) a. This extract is performed by an ensemble including trumpet, alto [ 3 ] AO3 saxophone, trombone, piano, double bass and drum kit. Tick √ the boxes below to indicate which other three instruments you can hear in the extract. Instrument TICK - √ Flute Oboe Clarinet Baritone Saxophone √ French horn √ Tuba √ BOPLICITY PG. 2 BOPLICITY / MARK SCHEME AREA OF STUDY D / JAZZ b. Underline the name given to this type of ensemble from the list [ 1 ] AO3 below Sextet | Octet | Nonet | Big band c.
    [Show full text]
  • Books to Share and Read Aloud
    Books To Share Books To Share and Read Aloud K-1 & Read Aloud Grades K-1 Are We there yet? By Dan Santat PICTURE SANTAT The Soda Bottle School “Are we there yet?” Every parent has heard this By Suzanne Slade classic kid question on a long car ride--and after J363.72 K reading this astonishingly inventive new book A tiny town in Guatemala faced two huge prob- (that even turns upside down for several pages!), lems: they had too much trash, and they had too you’ll never look at being bored the same way small a school. Where others might have given again! up, they didn’t--thanks to one crazy idea. That idea not only solved both problems, but also inspired others. Never underestimate the power I’m My Own Dog Print Print Audio E-Book of an idea! By David Ezra Stein Book Book Book Available PICTURE STEIN Available Available Available A dog without a human companion fetches his at Main at Woods Sam & Dave Dig a Hole own slippers and curls up at his own feet but By Mac Barnett cannot reach a certain itchy spot in the middle PICTURE BARNETT of his back, compelling him to leash a poor lonely Main Library human who will loyally offer a helpful scratch. Sam and Dave are sure they will discover some- 1080 Old Post Road thing exciting if they just keep digging their hole. Fairfield, CT 06824 Leonardo the Terrible Monster Children’s: 203-256-3161 By Mo Willems Hours: M-Th 9-9; F 9-6; Cock-a-doodle-doo-bop! PICTURE WILLEMS Sat 9-5; Sun 1-5 (Sept-May) By Michael Ian Black Leonardo is a terrible monster -- he can’t seem to PICTURE BLACK frighten anyone.
    [Show full text]
  • How to Use This Songfinder
    as of 3.14.2016 How To Use This Songfinder: We’ve indexed all the songs from 26 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 10. The Charlie Parker Real Book (The Bird Book)/00240358 C Instruments/00240221 11. The Duke Ellington Real Book/00240235 B Instruments/00240224 Eb Instruments/00240225 12. The Bud Powell Real Book/00240331 BCb Instruments/00240226 13. The Real Christmas Book – 2nd Edition Mini C Instruments/00240292 C Instruments/00240306 Mini B Instruments/00240339 B Instruments/00240345 CD-ROMb C Instruments/00451087 Eb Instruments/00240346 C Instruments with Play-Along Tracks BCb Instruments/00240347 Flash Drive/00110604 14. The Real Rock Book/00240313 02. The Real Book – Volume II 15. The Real Rock Book – Volume II/00240323 C Instruments/00240222 B Instruments/00240227 16. The Real Tab Book – Volume I/00240359 Eb Instruments/00240228 17. The Real Bluegrass Book/00310910 BCb Instruments/00240229 18. The Real Dixieland Book/00240355 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 19. The Real Latin Book/00240348 03. The Real Book – Volume III 20. The Real Worship Book/00240317 C Instruments/00240233 21. The Real Blues Book/00240264 B Instruments/00240284 22.
    [Show full text]
  • Boplicity / Cwestiynau Maes Astudio D / Jazz
    BOPLICITY / CWESTIYNAU MAES ASTUDIO D / JAZZ 1. Byddwch yn clywed dau ddarn o gerddoriaeth sy’n cael eu perfformio gan ensembles jazz. Efallai yr hoffech roi tic yn y blwch bob tro y byddwch yn clywed y darn. Darn Darn Darn Darn 5 Darn Darn 1 1 2 2 munud 1 2 Atebwch gwestiynau (a-d) mewn perthynas â darn 1 yn unig. Mae cwestiwn (dd) yn cymharu darn 1 â darn 2. Bydd pob darn yn cael ei chwarae 3 gwaith gyda saib o 30 eiliad rhyngddynt bob tro, saib o 5 munud ar ôl chwarae darn 2 am yr eilwaith a 7 munud o dawelwch ar ôl chwarae’r darnau am y tro olaf er mwyn i chi orffen eich ateb. Mae gennych 30 eiliad i ddarllen y cwestiynau. 20 BOPLICITY TN. 1 BOPLICITY / CWESTIYNAU MAES ASTUDIO D / JAZZ Yn gyntaf, byddwch yn clywed darn o ‘Boplicity’ a gafodd ei recordio gan Miles Davis a grŵp o gerddorion yn 1949. Mae amlinelliad o adeiledd y darn i’w weld isod. Pen Unawdau rhan (yn seiliedig ar Rhan A Rhan A Rhan B Rhan A ffurf ‘AABA’) a. Mae’r darn hwn yn cael ei berfformio gan ensemble sy’n cynnwys [ 3 ] trwmped, sacsoffon alto, trombôn, piano, bas dwbl a set ddrymiau. Ticiwch √ y blychau isod i ddangos pa dri offeryn arall y gallwch eu clywed yn y darn. Offeryn Ticiwch - √ Ffliwt Obo Clarinet Sacsoffon Bariton Corn Ffrengig Tiwba BOPLICITY TN. 2 BOPLICITY / CWESTIYNAU MAES ASTUDIO D / JAZZ b. Tanlinellwch yr enw sy’n cael ei roi i’r math hwn o ensemble o’r [ 1 ] rhestr isod Chwechawd | Wythawd | Noned | Band mawr c.
    [Show full text]