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Blowing Your Mind À Couper Le Souffle
MUSIC[]MUSIQUE BLOWING YOUR MIND À COUPER LE SOUFFLE MICHAEL BLAKE IS THE BEST CANADIAN JAZZ SAXOPHONIST YOU’VE NEVER HEARD OF. HE AND HIS NEW YORK PARTNERS IN THE JAZZ COMPOSERS COLLECTIVE ARE MAKING THE MUSIC YOU SHOULD BE LISTENING TO. MICHAEL BLAKE EST LE MEILLEUR SAXOPHONISTE DE JAZZ CANADIEN DONT VOUS N’AVEZ JAMAIS ENTENDU PARLER. LA MUSIQUE QU’IL FAIT AVEC SES PARTENAIRES NEW-YORKAIS DU JAZZ COMPOSERS COLLECTIVE EST INCONTOURNABLE. TEXT | TEXTE PAUL WELLS PHOTOS MICHAEL A. NEMETH ENROUTE 11_2003 066 ENROUTE 12_2003 067 THE FASHION IN JAZZ CLUBS CHANGES IN MANHATTAN AS DANS LES CLUBS DE JAZZ DE MANHATTAN, LA MODE CHANGE AUSSI swinging out of both sides of his mouth. duos en jouant simultanément de ses saxophones soprano et ténor. rapidly as the fashion in everything else there. The Village Vanguard rapidement que dans n’importe quel autre domaine. Le Village Vanguard Blake’s reputation among the city’s younger and more adven- La réputation de Blake parmi ses jeunes confrères aventureux est is eternal, but all the other clubs you’d have run to 15 years ago – est indétrônable, mais tous les autres clubs où vous vous seriez précipité turous musicians is considerable, which explains why this inaugural considérable. C’est pourquoi la crème du jazz de Manhattan assiste Sweet Basil, Seventh Avenue South, Bradley’s – have closed. The il y a 15 ans – Sweet Basil, Seventh Avenue South, Bradley’s… – sont performance by his first big band has drawn the cream of au concert d’ouverture du Canadien et de son premier big band. -
Analysis of Selected Percussion Literature: Concerto
ANALYSIS OF SELECTED PERCUSSION LITERATURE: CONCERTO FOR VIBRAPHONE AND ORCHESTRA BY NEY ROSAURO, SURFACE TENSION BY DAVE HOLLINDEN, URBAN SKETCHES FOR PERCUSSION TRIO BY LON W. CHAFFIN, TAKE FIVE BY PAUL DESMOND, AND DT SUPREME BY AUSTIN BARNES by AUSTIN LEE BARNES B.M.E., Fort Hays State University, 2010 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2012 Approved by: Major Professor Dr. Kurt Gartner Copyright AUSTIN LEE BANRES 2012 Abstract This is a report for anyone playing or teaching anyone of the following pieces: Concerto for Vibraphone and Orchestra by Ney Rosauro, Surface Tension by Dave Hollinden, Urban Sketches for Percussion Trio by Lon W. Chaffin, Take Five by Paul Desmond, or DT Supreme by Austin Barnes. The repertoire is analyzed by the method given in Jan Larue’s book Guidelines for Style and Analysis. The report includes interpretive decisions, technical considerations, harmonic analysis, and form. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................ vii Dedication .................................................................................................................................... viii CHAPTER 1 - Concerto for Vibraphone -
Jazzletter I PO Box 240, Ojai CA 93024-0240 March 2005“ Vol
GeneLeasAdLibitum 6- I Jazzletter I PO Box 240, Ojai CA 93024-0240 March 2005“ Vol. 23 No. 3 must look to black authority figures to validate the life and The Worlds of Paul Desmond work ofajazz musician, it is notable that Charlie Parker, one of the supreme icons of this music, was several times on In the first paragraph of a Foreword to Take Five, Doug record that Paul was his favorite alto player. That they were Rarnsey’s superbly researched biography ofPaul Desmond, also friends is something I did not know. That is documented Dave Brubeck asserts: in this book. ’ “Paul Desmond was an enigma. I considered him my best I once did a radio interview with Paul in which he said he friend. Yet, for a couple ofyears in my life I vowed I would went far out of his way not to sound like Charlie Parker, in never speak to him again. The rifi eventually healed and for a time when seemingly every young player was trying to do three decades we were as close as brothers.” so. He said there was enormous pressure on young players, Darius Brubeck, one of Dave’s sons, for many years a during his fonnative years, to emulate Parker. He called it “a jazz teacher in South Africa and England, told me he was kind ofmusical McCarthyism.” Much ofwhat Paul said was about twelve before he realized that Paul wasn’t actually his frmny not only for its content but his manner of speech, his uncle. idiosyncratic inflections, which ofcourse cannotbe captured “From the very first,” Dave says in that introduction, “we on paper. -
Fredericton and Saint John Senates
Jan. 27-28, 2015 President‟s Report to the Fredericton and Saint John Senates Dear members of Fredericton and Saint John Senates, Our mission is to create the premier university environment for our students, faculty and staff in which to learn, work and live. We continue to fulfill our mission with the help of dedicated faculty, energetic administrators, committed staff, generous benefactors and concerned citizens. I am pleased to share some of our recent highlights: On Jan. 26, I will attend the faculty council meeting for the Faculty of Nursing. I attended the faculty council meeting for the Faculty of Engineering on Nov. 27; the faculty council meeting for the Faculty of Law on Oct. 31, and the faculty council meeting for the Faculty of Business Administration on Oct. 3. I will continue to attend as many faculty council meetings on both campuses as I can. These meetings are an opportunity for me to learn more about the faculties, including their accomplishments and their needs plans for the future, directly from members of faculty. Hind Masri, a second-year law student, recently left Fredericton for a four-month internship at the International Criminal Court (ICC) in The Hauge, Netherlands. Ms. Masri will be working in the Appeals Division of the ICC, which is the first permanent, treaty-based, international criminal court established to help end impunity for the perpetrators of the most serious crimes of concern to the international community. Dean Levitt organized the internship for Ms. Masri and has made the development of new experiential learning opportunities for our law students a priority. -
B.C. Jazz Legend Performing with Ensemble Vivant Group by Mary Cocivera
B.C. jazz legend performing with Ensemble Vivant group by Mary Cocivera Ensemble Vivant, a group of five musicians, will take the stage at the Kelowna Community Theatre Thursday to weave some musical magic, ranging from Bach to Piazzolla. Known for its wide-ranging genre diversity, the Toronto-based ensemble will feature music with a distinctly Latin flavour. Jazz musician Don Thompson returns to his native British Columbia for this Kelowna gig. Born and raised in Powell River, he started his 50 year musical career with piano lessons, but started jamming with jazz musicians in his teens and moved to Vancouver in the early 1960s to play bass in Lloyd Arntzen's Dixieland quartet. When the neck broke off his borrowed bass, he bought his own bass and became one of the go-to bassists for countless studio sessions in Vancouver. He taught himself to play vibraphone and was the only vibes player in all of Vancouver at the time. Thompson moved to California in the late 1960s, to play and tour with saxophonist John Handy. As a pianist, bassist, percussionist, composer, arranger and producer, he is described as a musician who can move flawlessly from vibes to bass to piano and sound virtuosic on each instrument. Thompson played in Jim Hall's trio, George Shearing's band and has collaborated with Moe Koffman, Ed Bickert, Rob McConnell, Lenny Breau, Sarah Vaughan, Kenny Wheeler, Art Farmer, Phil Dwyer and many others. He has performed in Europe, Japan, Great Britain, South America and at every major jazz festival in North America. -
Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz. -
Robert G. Doyle July 3, 1932 - November 24, 2014
Robert G. Doyle July 3, 1932 - November 24, 2014 rom humble beginnings amidst the depression era and the war rationed 40’s, Bobby Doyle began playing the piano as a 10-year-old youngster growing up in New FWestminster, B.C. He was introduced to the rudiments with sporadic lessons from an elderly teacher who lived in the neighborhood, but he wasn’t too keen on classical piano. Being interested in popular music, he spent hours practicing on his own during his teenage years while friends played outside, or as he put it, “doing something girls mostly did”. Immersing himself in music, he soon began working locally, “plunking away in cowboy bands” at age 15. At age 16 he made his radio debut on CKNW with Mike, Mark & Jack, The Rhythm Pals, appearing on the popular Bill Rea show. These early experiences spawned a 60 plus year career as a prominent Vancouver musician and private teacher. In the 50’s he moved to Vancouver and began working at The Flame and The Vancouver Lawn & Tennis Club. Throughout the 60’s and into the 70’s he was a house band member in three of Vancouver’s most prominent supper clubs starting at Izzy’s, often at The Cave and ending at Oil Can Harry’s. This coincided with a musical association lasting over 40 years alongside He was always Vancouver’s iconic Bobby Hales. These clubs played host to myriad well-known entertainers engaged and and music performers. It was a fruitful era for live music in the city and the opportunity to play alongside and/or accompany the stars of the day, including Duke Ellington, Dizzy Gillespie, listening to what Stan Getz, Buddy Rich, Mitzi Gaynor, Robert Goulet, Sherry Lewis, Jack Carter, Red Buttons, a was going on…he young up and coming Stevie Wonder, Chubby Checker and countless more. -
Sample Material © UBC Press 2018 MARIAN JAGO
Praise for Live at the Cellar “In Live at the Cellar, Marian Jago deftly explores the phenomenon of co-operative jazz clubs, a neglected area in the study of jazz. While her book focuses on the fertile scene surrounding Vancouver’s Cellar Club and, to a lesser degree, parallel clubs in Edmonton, Calgary and Halifax, her methodology, insights, and conclusions provide an excellent basis for comparative work on co-operatives in the United States and Europe. A pioneering work, this book makes a substantial contribution to jazz scholarship.” – ROB BOWMAN, Grammy Award–winning musicologist and professor of ethnomusicology, York University “I grew up in Vancouver during the formative years of ‘the new jazz,’ and I was fortunate enough to be at the ‘right place and time’ to watch jazz history being made. These clubs were our jazz ‘school,’ where we learned all about this North American art form. Our music was formed in a ‘crucible’ of jazz, where all of the elements fused together to form something new. In Live at the Cellar, Marian Jago perfectly chronicles this chapter in Canadian jazz, something that few have revealed in such detail. Her amazing book captures the spirit and essence of that time and that experience.” – TERRY CLARKE, C.M., drummer and Canadian jazz icon “The Cellar on Watson Street was a huge part Vancouver’s jazz history and had an obvious influence on my own club, The Cellar on Broadway. I would’ve given anything to be around during the heyday of Vancouver’s jazz co-ops – this book helps me close my eyes and imagine what it was like to be there!” – CORY WEEDS, jazz musician and owner of The Cellar on Broadway Sample Material © UBC Press 2018 MARIAN JAGO live at the CELLAR vancouver’s iconic jazz club and the canadian co-operative jazz scene in the 1950s and ’60s Sample Material © UBC Press 2018 For all the players. -
Jazz Canada Bulletin, Its 29Th Year, Continues to Set the Standard for Performances Are a Great Chance for Musicians 57 D’Arcy Drive, Winnipeg, Jazz Excellence
THE NEWSLETTER OF JAZZ CANADA VOLUME 6 NUMBER 1 • SPRING 2002 INSIDE Music in the Mountains at The Banff Centre Music in the Mountains at Nestled below the massive peaks of the Wheeler, and Joe Lovano) have made their the Banff Centre 1 Canadian Rocky Mountains is an institution presence felt in Banff since 1973, working as known as The Banff Centre - a genuine haven “visiting artists” and collaborating with the President’s message 2 for artists. The Centre is a place renowned for jazz participants in the residency programs. its professional development programs for This year, the tradition continues with artists of all disciplines, including visual and renowned composer Maria Schneider joining FEATURE: Time: One of 3 media arts, theatre arts, writing and publishing, Hugh Fraser in the 2nd annual Jazz Orchestra The Fundamentals aboriginal arts, and of residency. Dave Douglas, course, music. The Jim Black, Chris Potter, Canadian Sister in Jazz 4 music programs at the Ari Hoenig, and Django Centre began in the Bates join artist-in- 1930’s with programs residence Kenny Werner FEATURE: The Musician’s 5 offered in the during the jazz Need for Awareness: Part 2 summer, and in 1979, workshop. the year-round music What makes all the programs were music programs at Young Women of Note 7 established. Since The Banff Centre then, countless Maria Schneider unique is not only conducting the jazz musicians (both estab- excellent faculty Institutional Update 8 orchestra, May 2001 lished and emerging) and top-notch have walked through the doors - including facilities, but also Regional News 9 composers, solo performers, ensembles, singers, the countless and of course, jazz musicians. -
25 Years of Keeping Jazz Alive
April 2011 Vol. 26 No. 3 www.wmichjazz.org An All-Volunteer orgAnizAtion Retrospective 25 Years of Keeping Jazz Alive Wmjs: 1986 - 2011 Beginnings By Betty Forrest Quite often a good Nancy Gould, Kathi Swets, program, an orga- and Bob & Ginny Taylor. nization, or even a By April the first edition business, is developed of Jazz Notes was mailed to out of what was es- 40 people and our first public sentially one person’s meeting/gig was held at the individual, even self- former Pockett’s Club where ish, motive. Mine was one of our founding members, to establish a support Bruce Early, was appearing group to help promote with his big band (which has an annual Jimmy now evolved into the Grand Forrest Scholarship Rapids Jazz Orchestra). Mem- Fund concert. After bership rose to nearly 100 at Jimmy’s death in Au- a June jazz party held at the gust 1980, I had estab- home of Jim and Nancy lished a fund through Gould (Jim was drafted to GRJC to award mon- be our first President), and we ies to students major- felt we were off and running. ing in jazz studies by By the end of 1986, when we presenting an annual had our first annual holiday concert featuring pop- party, we had written by-laws, ular jazz stars that he established our non-profit had known or played Jimmy Forrest status, had money in the bank, with during his own 40-year career on tenor saxophone. and a membership of nearly 150! We call these our Charter Successful concerts were given each of the following five Members, and of these, 90 were still with us nearly 10 years years, with the Count Basie Orchestra appearing on later. -
Phil Dwyer Music Festival Occupies an Witness Veteran Trombonist Ian Mcdougall’S Entire Month! Trio in Intimate Surroundings on August 5
The Qualicum Beach Village Theatre will indeed be the centre of most of the action, with a baker’s dozen of shows promising some wonderful music. Jazz is high on the agenda, of course. Two of the aforementioned morning faculty shows will be taking place on July 20 and 22. By David Morrison The PDAMCA Intermediate Jazz Students occupy the evening slot at a concert to show urrah and huzzah, the festival season off their chops on July 23, while Daniels’ is upon us once again! And you know H Vocal Students will turn in an afternoon what that means: the musical shenanigans performance on July 30. The remaining start here! I’m pleased to report that most PDAMCA shows will be an evening Adult of this region’s established staples are Students performance on August 6 and scheduled as normal, but bolstering an two morning sets from the PDAMCA Jazz already stellar collective array of local, Combo on August 10 and 12. national and international talent is a brand new event with a fresh approach to the At the same venue, the Scott White Quartet festival format. Rather than straddling a long are set to blow minds on July 24, while weekend or taking place on a single day, just six dollars presents the opportunity to the Phil Dwyer Music Festival occupies an witness veteran trombonist Ian McDougall’s entire month! trio in intimate surroundings on August 5. Finally in respect of jazz, at least for Running July 18 – August 15 and catering the Qualicum Beach Village Theatre, the to a wide range of tastes, this addition to summer 2010’s festival options has been, BRAD TURNER phil Dwyer Music Festival: let the Music play! as its banner may imply, organized by the “I’ve had a music camp going for the last Qualicum Beach jazz hero and his wife, five years and the last couple of years Theresa. -
Mid West Program
New Trier High School Jazz Ensemble I Winnetka, Illinois The Midwest Clinic An International Band and Orchestra Conference Chicago Hilton Grand Ballroom December 19, 2002 2:45 p.m. The NEW TRIER HIGH SCHOOL JAZZ ENSEMBLE I is the more advanced of four curricular jazz ensembles at New Trier High School. All jazz ensembles rehearse for forty minutes each school day and the students receive a grade for their participation. New Trier also offers four curricular concert bands and five orchestras. More than 120 students participate in the jazz studies program at New Trier. Some of the jazz artists who have performed with the New Trier Jazz Ensemble in- clude... Dizzy Gillespie, Maynard Ferguson, the rhythm section of the Count Basie Orchestra, Toshiko Akiyoshi, Lew Tabacken, Ed Shaugnessy, Clark Terry, Louie Bellson, Jamie Aebersold, Bobby Shew, and more than 50 others listed later in this program. Believing that their graduates are their trophies, the New Trier jazz ensembles do not participate in competitive jazz events. However, Jazz Ensemble I has performed at the Montreux Jazz Festi- val and the North Sea Jazz Festival, twice at the conventions of the Intemational Association of Jazz Education, three times before today at the Midwest Interna- tional Band and Orchestra Clinic, a Music Educators National Conference, and the National Band Association convention. They have performed several times at Ravinia and the Jazz Showcase in Chicago. During the summer of 2000 the ensemble toured China for two weeks with the Cham- ber Orchestra, performing the first jazz concerts ever presented in the three major cities in the Henan Province, China’s most populated Prov- ince.