Jazzfest Goes On,” Set for Aug

Total Page:16

File Type:pdf, Size:1020Kb

Jazzfest Goes On,” Set for Aug Editor: Kathy Lyon Vol. 26 • July 2009 • No. 4 “Los Divos Extravaganza” with Special Guest Chip Shelton Promises an Exciting “JazzFest Goes On,” Set for Aug. 8 The Jazz Society of Pensacola will present its semi-annual fundraiser regional jazz musicians, educational groups and, not to leave out the very “Los Divos Extravaganza” from six to nine p.m. Saturday August 8 in young, a “Kids Jazz Jam with Harmonicas and Kazoos” on both days of Phineas Phogg’s Room, Seville Quarter in downtown Pensacola. the festival. Come to our fundraiser Three male vocalists–David and help us enjoy and celebrate Washington, Jim Vail and America’s music-jazz.” David Suhor–will perform For more information call the accompanied by pianist David Jazz Society office at 433-8382 or Shelander’s combo and Joe visit the website www.jazzpensacola. Occhipinti’s Continental com. Tickets are $20 in advance and Jazz Orchestra. Special $25 at the door and are available at guest will be New York flutist Chip Shelton. the Jazz Society office and upcoming Crystal Joy Albert, JSOP board member and JazzFest Music Director, events. Student tickets are $5 at the said, “Our previous fundraiser-Diva Extravaganza–which featured seven door with student ID. You may also female vocalists–was so successful and enjoyable that we decided the call the office at 433-8382 during men needed a chance to shine. We have secured talented male vocalists office hours (Tues. through Friday, David Washington, Jim Vail and David Suhor 9:00 am - 1:00 pm) to purchase New York based flutist/saxophon- to perform for us. ist Chip Shelton (shown here tickets with a credit card. Tickets “A special attraction will be New York playing a straight soprano sax) are also available at Seville Quarter, flutist/saxophonist Chip Shelton, who plays will be a special attraction at the Dollarhide’s Music and Sound and the entire flute and saxophone families. He Aug. 8 “JazzFest Goes On”. Reynalds Music House. plays a vertical flute–positioned like a clarinet– and has recorded eight CDs. Chip and our vocalists will be accompanied by pianist JSOP “Wish List” – Can You Help? David Shelander’s combo and Joe Occhipinti’s The Jazz Society, as you know, relies on our volunteers, and too Continental Jazz Orchestra.” often it’s the same handful of people putting in most of the effort. Ms. Albert continued, “Shelton has family Don’t assume we’ve got everything covered! There are several areas in Pensacola and we have in which we urgently need help: • MOST URGENT–Tax and accounting: Long-time member and “Los Divos”: desired to bring him down treasurer Norm Perrin handled this since the inception of the organi- Three male for a performance. He will zation. Since his passing last year, it has become clear that we need vocalists will have performed at the perform at the someone who has CPA or non-profit organization tax experience to Gulf Coast Ethnic and help with filing our tax returns and guidance on matters like sales tax, JazzFest Goes Heritage Festival in Mobile On. Top: David etc. Bookkeeping, etc. is handled in the office, so we’ve got that the previous weekend and Washington. covered. But there are tax issues that urgently need addressing. If R: David Suhor. he will travel to Japan for you can lend a hand on this, please call the office as soon as possible. Below, Jim Vail performances later in the • Storage room organization: We need to pull together a team of year.” Shelton’s website is volunteers for a day, to organize our storage room. Can someone take www.chipshelton.com. charge of pulling together a team and pinning down a date? Roger Villines, Jazz Society Board • Archivist/Librarian: Our Archives room is full of publications, President said, “We are expecting a books, VHS tapes, DVDs, old photos, posters, etc. We need someone wonderful evening overflowing with to help sort out what should be stored, what should be tossed, and musical talent. We are raising funds for what should be organized so we can establish a lending library so that our 27th annual Pensacola JazzFest to be our membership can easily “check out” a DVD or a book. held the weekend of April 10-11, 2010 in • Volunteer Coordinator: It would be great to have one person who historic Seville Square. This is a FREE could help pull together volunteers for specific tasks, such as calling festival and is our annual gift to the com- committees, admission table, merchandise, etc. munity. There will be a broad spectrum Interested? Please call the office at 433-8382 during office hours of nationally known jazz artists, local and (Tues.-Fri. 9 am-1 pm) and let’s talk about how you can help! Member News Ø Ø Jazz Happenings Gladys Paulk Williamson Dies at Ninety-two uMon. August 3, 2009 - Jazz Jam at Jambalaya’s. Gladys Williamson was a happy jazz-fan. Her smiling face Jambalaya’s Grill and Oyster Bar, 51 Gulf Breeze Parkway, Gulf could be seen at many of our Jazz Society functions, gumbos, Breeze. (inside Bay Beach Inn, just across the 3-mile Bridge from jazz jams and picnics. She was a longtime member and loyal sup- Pensacola). The Jazz Jam begins at 7:00 p.m. Admission is $5.00 porter of the organization. She was always excited by new per person. Performing musicians are invited to sit-in and they are experiences, cruises or trips she had taken and delightful people admitted free. Jambalaya’s offers a full menu and a well-stocked she had met. She was a widow who had been employed by the bar. Roger Villines, trumpeter and director of the PJC jazz City of Pensacola. She is survived by several nieces and ensemble, leads the session. The beauty of a jam session is that nephews. She was a longstanding member of Trinity Presbyterian one gets to hear combination of musicians not likely to be heard elsewhere. The music is spontaneous and creative, and you’ll enjoy Church. Graveside services were held Saturday May 16 with the energy as musicians of all ages, abilities and backgrounds mix it Rev. Frank Beall officiating. up on stage. Great music, and always fun! Jazz Society Mourns Loss of Sara Williamson uSat. August 8, 6:00 pm– Sara Williamson died May 4 after a brief illness with cancer at JazzFest Goes On! “Los Divos Extravaganza!” age seventy-five. She is survived by husband Bob, four children Phineas Phogg’s Room in Seville Quarter, 130 E. Government St. and their families, six grandchildren and three sisters. She was a See the front page of this newsletter for the complete details. A native of Tallahassee, a graduate of Florida State University and great time, a great cause - supporting the 2010 Pensacola UWF. She had taught school in Florida and Alabama. JazzFest, April 10-11! Admission: $20 in advance, $25 at the door, She and Bob were longtime members of St. Christopher’s Students $5 at the door with I.D. Call the JSOP office at 433-8382 (Tues.-Fri. 9 am - 1 pm) to order tickets. Episcopal Church and frequently served as host/hostess at the St. Christopher’s table at Jazz Gumbo. She assisted Bob as uWed. August 12, 2009, 4:30 pm: “Sparkplugs” Meeting treasurer for Pensacola JazzFest for two years. A memorial Would you like to get more involved in the Jazz Society? By attending service was held at St. Christopher’s on Saturday May 30 at our monthly “Sparkplugs” meeting, you can participate in discussion 11:00 a.m. Our sympathy goes out to Bob and the family. and brainstorming about Jazz Society events, JazzFest, and ways to support and promote Jazz in our area. For more information, call the Longtime JSOP Member Vernon Smith Passes Jazz Society at 433-8382 for during office hours (Tues.-Fri. 9-1) The Jazz Society expresses sympathy to wife Jan and the fam- uMon. August 17, 6:00 pm— ily of Vernon L. Smith, M. D., longtime Jazz Society member. Jazz Gumbo: Al Martin and Friends “Smitty” was a retired ophthalmologist. He was friend of the Phineas Phogg’s Room in Seville Quarter, 130 E. Government St. late Ray Parker. When his son Kent “Barry Cuda” Smith was Al Martin is a Pensacola landmark, right up there with the beach and taking lessons, Smitty also studied with Ray. There was a the Blue Angels! Resident pianist for many years at the Ramada photo in the September 2008 issue of our newsletter of Smitty Inn on Scenic Highway, Al plays an extensive repertoire of stan- and “Barry Cuda” at the Brubeck Exchibit. Kent is now a dards and popular tunes for listening and dancing. He’ll be putting together a great combo for this show, so don’t miss it. Admission is professional jazz pianist in Key West. $10 for public, $7 for JSOP members. $5 for students with ID and free for military in uniform. A cup of seafood gumbo is included with admission. Top Photographer Supports JSOP With One may order from the menu, as desired. Full bar also available. uMon. September 7, 2009 - Annual Labor Day Picnic Outstanding Photos for Newsletter and Website Details will be forthcoming as soon as arrangements are finalized, We’ve been very fortunate to have attracted the interest and and will be available on www.jazzpensacola.com. NOTE: No attention of a top regional photographer (and new JSOP member), Jazz Jam @ Jambalaya’s in September due to the picnic. Michael Loftis, who has been attending nearly all of our events.
Recommended publications
  • Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
    Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz.
    [Show full text]
  • A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
    A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In­ dividuals and groups of national and international fame, represen­ ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa­ tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre­ quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae­ cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors.
    [Show full text]
  • War: How Britain, Germany and the USA Used Jazz As Propaganda in World War II
    Kent Academic Repository Full text document (pdf) Citation for published version Studdert, Will (2014) Music Goes to War: How Britain, Germany and the USA used Jazz as Propaganda in World War II. Doctor of Philosophy (PhD) thesis, University of Kent. DOI Link to record in KAR http://kar.kent.ac.uk/44008/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Music Goes to War How Britain, Germany and the USA used Jazz as Propaganda in World War II Will Studdert Thesis submitted for the degree of Doctor of Philosophy in History University of Kent 2014 Word count (including footnotes): 96,707 255 pages Abstract The thesis will demonstrate that the various uses of jazz music as propaganda in World War II were determined by an evolving relationship between Axis and Allied policies and projects.
    [Show full text]
  • November 2009 Newsletter
    November 09 Newsletter ------------------------------ Yesterday & Today Records PO Box 54 Miranda NSW 2228 Phone/fax: (02)95311710 Email:[email protected] Web: www.yesterdayandtoday.com.au ------------------------------------------------ Postage: 1cd $2/ 2cds 3-4 cds $6.50 ------------------------------------------------ Loudon Wainwright III “High Wide & Handsome – The Charlie Poole Project” 2cds $35. If you have any passion at all for bluegrass or old timey music then this will be (hands down) your album of the year. Loudon Wainwright is an artist I have long admired since I heard a song called “Samson and the Warden” (a wonderfully witty tale of a guy who doesn’t mind being in gaol so long as the warden doesn’t cut his hair) on an ABC radio show called “Room to Move” many years ago. A few years later he had his one and only “hit” with the novelty “Dead Skunk”. Now Loudon pundits will compare the instrumentation on this album with that on that song, and if a real pundit with that of his “The Swimming Song”. The backing is restrained. Banjo (Poole’s own instrument of choice), with guitar, some great mandolin (from Chris Thile) some fiddle (multi instrumentalist David Mansfield), some piano and harmonica and on a couple of tracks some horns. Now, Charlie Poole to the uninitiated was a major star in the very early days of country music. He is said to have pursued a musical career so he wouldn’t have to work and at the same time he could ensure his primary source of income, bootleg liquor, was properly distilled. He was no writer and adapted songs he had heard to his style.
    [Show full text]
  • Sooloos Collections: Advanced Guide
    Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
    [Show full text]
  • Drew Gress, Artistic Integrity, and Some Kind of Accep- Portunity to Engage Visiting Artists and Craig Taborn, Tim Berne Tance, Even Within Its Own Mainstream
    Welcome to the 2006 Earshot Jazz Festival This year, “Seattle’s most important in three-day residency with the Seattle Roosevelt High School Band shares a bill annual jazz event” includes more than Repertory Jazz Orchestra that includes with the Ted Nash Quintet. 60 events over 18 days between October open rehearsals and workshops as well Th e Earshot Jazz Festival is by far the 19 and November 5. With more than as two concerts. biggest undertaking of the Earshot Jazz 200 artists participating, from around Once again, we’ll feature Seattle’s award- organization, but it is far from our only the world and around our city, this year’s winningest high-school jazz ensembles in activity. We present our own concerts event off ers as much as any of its prede- mainstage concerts with special guest throughout the year, collaborate on con- cessors to music lovers of the Seattle area. artist. Guest artists who have rehearsed cert presenting initiatives like SAM’s Art Th e festival includes main stage concerts, and performed with Garfi eld and Roos- of Jazz, the Anacortes Jazz Festival, and, club dates, meet-the-artist receptions, evelt High School Bands in the past have coming up, EMP’s Jazz in January. We jazz fi lms, and plenty of opportunities included saxophonists Ravi Coltrane publish the monthly Earshot Jazz news- for all fans of all ages to learn a bit more and Joshua Redman and New Orleans letter, and work to provide educational about the music and the musicians. trumpeter Nicholas Payton. Th is year, opportunities and advancements to the We’re excited about this festival.
    [Show full text]
  • Go Wild 4-H2O New Trustees Want Board to Be More Proactive
    IN SPORTS: Championship day at Dixie Softball World Series B1 PANORAMA Go wild 4-H2O Clemson offers students a hands-on study of wetland C1 SERVING SOUTH CAROLINA SINCE OCTOBER 15, 1894 ecology at 2-day camp WEDNESDAY, AUGUST 2, 2017 $1.00 SUMTER SCHOOL DISTRICT New trustees want board to be more proactive BY BRUCE MILLS Trustees. The Sumter County Legisla- cluding acting as audit committee asset to the school board,” Byrd said. [email protected] tive Delegation appointed both in chairman for the South Carolina Byrd has also served for five years unanimous votes Monday night in a Legal Services Corp. and the Progres- on the school board’s advisory finance According to their resumes, Sum- public meeting at Central Carolina sive National Baptist Convention committee. That committee consists of ter’s newest school board Technical College. Board. Additionally, he’s a member of four local private business owners — members come with Byrd, a certified public the American Institute of CPAs’ Joint Byrd included — and three board plenty of credentials and accountant, owns and op- Trial Board, which covers the profes- members to help guide the school dis- each says they believe the erates William Levan sion’s ethics regulations. trict’s financial practices. Byrd and board needs to work Byrd, CPA, PC at 207 E. Given the school district’s recent fi- the other private business owners more proactively in the Liberty St., and also has nancial difficulties, Byrd thinks he’s a have provided advice to board mem- future. 25 years’ combined expe- good fit for the school board.
    [Show full text]
  • Charitable Organizations Eligible for Voluntary Contributions from Tax Refunds As of 11:59 PM, Aug
    Charitable Organizations Eligible for Voluntary Contributions from Tax Refunds as of 11:59 PM, Aug. 29,2019. Colorado charities organized by county. Adams County Principal Name of Organization Registration Number 50 IN 52 JOURNEY, INC. 20093008514 A CHILD'S SONG, INC. 20043009591 A CHILD'S TOUCH 20083006424 A WORLD AWARE, INC. D.B.A. AWA 20083005830 ABATE OF COLORADO 20103002255 ACCESS HOUSING OF ADAMS COUNTY, INC. 20043010015 ADAMS 12 FIVE STAR EDUCATION FOUNDATION 20093011502 ADAMS 14 EDUCATION FOUNDATION 20023002971 ADAMS COUNTY EDUCATION CONSORTIUM 20103003023 ADAMS COUNTY EMERGENCY FOOD BANK 20143000091 ADAMS COUNTY FOUNDATION, INC. 20083005695 ADAMS COUNTY HISTORICAL SOCIETY 20103024876 ADAMS COUNTY JR LIVESTOCK SALE COMMITTEE 20083007087 ADAMS COUNTY YOUTH INITIATIVE, INC. 20143029109 ALMOST HOME, INC. 20053007451 ALTERNATIVES FOR YOUTH, INC. 20023003394 AMERICAN LEGION POST 22 20043006901 AMI OF ADAMS COUNTY INC 20093008255 ARISING HOPE 20113030317 ASCEND PERFORMING ARTS, INC. 20023005880 ASIAN PACIFIC CENTER FOR HUMAN DEVELOPMENT 20123008365 ATL FOUNDATION 20093008419 AURORA COMMUNITY CONNECTION FAMILY RESOURCE CENTER 20103032479 AURORA INTERCHURCH TASK FORCE, INC. 20033001983 AURORA WARMS THE NIGHT, INC. 20133004783 BENNETT ELEMENTARY PTSA 20113029174 BETHEL FELLOWSHIP INTERNATIONAL 20093008143 BOLTZ WRESTLING CLUB 20123015119 BRAZIL OUTREACH MINISTRIES UNLIMITED 20083004274 BREAD OF LIFE AFRICAN MINISTRIES 20093007103 BRIDGES OF SILENCE 20033002733 BRIGHTON BULLFROGS SWIM TEAM INC. 20083005395 BRIGHTON COMMUNITY HOSPITAL ASSOCIATION
    [Show full text]
  • 18. the Far-Ranging 19605
    18. The Far-Ranging 19605 n the 1960s, rock ' n roll sought to create jazz that had and Motown were more to say. I monopolizing popular He was a world leader in music. The big jazz bands of the free jazz movement ofthe the 1930s and '40s and the 1960s, but Ayler's early singers of the '50s had faded influences offered little or no from the public consciousness. indication of his eventual It was a critical time for jazz. experiments in unstructured Jazz had not been the world's music. most popular music for almost Born in Cleveland July 13, two decades and seemed to be 1936, Ayler was raised by almost lost in the cross-fire of Edward and Myrtle Ayler in other forms of musical Shaker Heights. He grew up entertainment. in a very musical atmosphere. Some artists, who viewed Cleveland Press I CSU Archives He said his father played jazz as an almost straight-line Albert Ayler violin and a Dexter Gordon- evolutionary process, tried to style saxophone. "When I extend it in a variety of directions, sometimes with was two," recalled Albert, "I used to blow foot stool. disastrous results. Others, rejecting the need to expand, My mother told me I'd hold it up to my mouth and blow reverted to earlier styles of jazz. The result was a as if it were a horn." When his father played Lionel fragmentation of jazz which, in turn, diminished its Hampton records, Albert would mimic the musicians. general popularity. Jazz had moved from the Edward decided to teach his son to play alto sax.
    [Show full text]
  • Cruise Planners
    Charley Lee [email protected] www.cruiseplannersoftexas.com 903-483-2660 NEW ORLEANS, LA OVERVIEW Introduction It has been said that New Orleans, Louisiana, celebrates indulgence like no other U.S. city; its reputation for feasting and revelry, especially during Mardi Gras, is legendary. After Hurricane Katrina, the city rebuilt with fervor and tourism is flourishing. New restaurants, hotels and attractions draw millions of visitors to the city each year. Although some neighborhoods still struggle with the aftermath of the storm, visitors to New Orleans' Central Business District, the French Quarter, Faubourg Marigny neighborhood, the Garden District and Uptown along St. Charles Avenue and Magazine Street will find a city alive and thriving. In this city synonymous with resilience and rebirth, it takes more than a hurricane or an oil spill to make New Orleanians lose their appetite for fun, food and merriment. New Orleans is an extraordinary city, and with its unique culture and history, it has long enchanted a wide variety of visitors with a yearning for the romantic, the spiritual, the beautiful or the off-beat. (In what other U.S. city would a voodoo priestess be buried next to the mayor's family, or funerals be celebrated with a jazz band and a processional?) That magic feeling is stronger than ever, a calling card to a city with a spirit too beautiful to ever break. Sights—St. Louis Cathedral and the French Quarter (also called Vieux Carre); the Garden District; Woldenberg Riverfront Park; an aboveground cemetery; the view of the city from Algier's Point. Museums—The Ogden Museum of Southern Art; The Cabildo; the Historic New Orleans Collection; the National World War II Museum; the Southern Food and Beverage Museum (SoFAB); the New Orleans Museum of Art.
    [Show full text]
  • Music \(1924\2261939\): a History of Belgium\222S First Jazz Journal
    Music (1924–1939): A History of Belgium’s First Jazz Journal http://www.crj-online.org/v7/CRJ-BelgiumJazzJournal.php Home > V7 > Music (1924–1939): A History of Belgium’s First Jazz Journal Music (1924–1939): A History of Belgium’s First Jazz Journal Matthias Heyman Introduction Belgium’s fascinating jazz history is something of a paradox in that it is little known locally or externally, yet it is filled with unique events—such as the creation of one of the world’s first hot clubs devoted to jazz (in 1932)—and significant proponents, some of whom were among the most highly regarded musicians on the European jazz scene in the 1920s and 1930s. But rather than survey the early history of jazz in Belgium and its performers, I will introduce the Belgian jazz journal Music (1924–1939) along with its creator, Félix-Robert Faecq (1901–1992), as it is an ideal way to explore some of the nation’s key figures, policies and perspectives in the era between the two world wars. Other Belgian music magazines existed, but in general they devoted little or no attention to jazz, a topic that was also largely ignored by the general press. As such, Music played an instrumental role in the introduction, reception, and popularization of jazz in Belgium, and at times was even used as a mechanism for achieving specific goals. Despite this periodical’s tremendous importance, it is now nearly forgotten, and unfortunately there are only two complete runs available anywhere, both in Belgian archives. [1] It is hard to assess to what extent lack of access to this magazine has affected how Belgian jazz history has been perceived, but one thing is certain: Music is a vital tool for any serious student of the history of Belgian jazz in its first few decades, a period often neglected in examinations of this nation’s jazz past.
    [Show full text]
  • Erwin Schulhoff (1894-1942): an Analytical Study and Discussion
    ERWIN SCHULHOFF (1894-1942): AN ANALYTICAL STUDY AND DISCUSSION OF CONCERTINO FOR FLUTE, VIOLA, DOUBLE BASS, WV 75, AND SONATA FOR FLUTE AND PIANOFORTE, WV 86 Maria D Alene Harman, B.A., M.M., G.A.C. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Mary Karen Clardy, Major Professor Warren Henry, Committee Member Jeffrey Bradetich, Committee Member Lynn Eustis, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Harman, Maria D Alene. Erwin Schulhoff (1894-1942): An analytical study and discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86. Doctor of Musical Arts (Performance), December 2011, 95 pp., 20 musical examples, 18 tables, references, 85 titles. Erwin Schulhoff (1894–1942) was a Czechoslovakian musician born in Prague, to a German-Jewish family, and whose life came to a premature end in 1942 at the Wülzburg concentration camp, near Weißenburg, Bavaria. Schulhoff’s life, compositional style, and two of his flute works are addressed in this dissertation: Sonata for Flute and Pianoforte, WV 86, and Concertino for Flute, Viola, and Double Bass, WV 75. Each work is considered as a discrete entity, and insight provided into the structure of the music; stylistic and compositional influences, form, phrase structure, and other aspects are discussed. The intended audience is the flutist seeking knowledge regarding the historical significance and performance of each piece. The analysis and summary of Schulhoff’s life and primary flute works will contribute to the understanding of performance scholarship of his music and provide a deeper understanding of the composer, from the perspective of musical and compositional style.
    [Show full text]