TWA Sings Out. for the Ohio State They Stole the Show at The

Total Page:16

File Type:pdf, Size:1020Kb

TWA Sings Out. for the Ohio State They Stole the Show at The ., "· TWA sings out. For the Ohio State Jazz Band. They stole the show at the Intercollegiate Music Festival. l '· • 1 .Trans World Airlines* r/ \ ~Service mark owned exclusively by Trans World Airlines, Inc. ~.i.:,,,..... · ,; ~)ed.-.cJ"\ H~ to,~"«., This Guy McIntosh? 1 t II Stan .K enton s V er d·1ct: 'A Gen1us . By RON PATAKY val, held this past Friday cided to record the entire ready for the major Citizen-Journal Theater Editor and Saturday in Miami. Not event for commercial re­ leagues.") lease. The LP, according to The happiest man in Co­ only did the sensational THEN CAME THE big lumbus? In that nebulous OSU group walk away with Downbeat's m an-on-the· one in Miami and the big­ race, there can only be two the top trophy - McIntosh scene, was a flop - all ex­ gest prize of them all. candidates in the city as of himself also copped the cept McIntosh's contribu­ A simple notation made tion, called the best thing this mo­ first place award for best by top alto man Phil Woods original composition. on the album and " . • • on his judging sheet just ment. One alone worth the price." of course Much of this has already aoout summed up the reac­ would be bren reported on this page. AT THE SAME festival tions of the five judges, in­ S m i 1 i n' What many of you may not in 1966, Ladd was named cluding such prominent Jack, our know, however, are some b e st arranger-composer. names as Gary McFarland colorful, of the steps that led up to Downbeat's review of that and Oliver Nelson. dapper May­ this honor of honors where one praised the original Noted Woods: "Best or ... but collegiate musicians are composition, adding that writing I've heard." concerned. MacFarland's comments: An elated Ladd McIntosh looks over the three trophies he received Ladd's soprano sax solo he and his 21 ~member Ohio State Jazz Workshop Band his bouquets RECOGNITION is noth­ was " ... perhaps the best "Beautifully written! Beau­ tifully performed! Beauti­ brought back with them this past weekend from Miami. last week. ing new to McIntosh (that conceived and executed Ladd and his group won first place in the national finals could be the year's biggest solo of the entire festival." fully conducted!" (The ex­ S e c o n d Pataky clamation points were his). of the annual Intercollegiate Jazz Festival. contender would have to be understatement). This past February, he a young Columbus musi­ Here's a chap who long took the group back to Vil­ THERE SEEMS to be no story: "Please mention the big band; and if Stan Ken­ cian named Ladd McIntosh, ago was tabbed genius by lanova for the regional fi­ question in anyone's mind band • • • they were just ton is any authority at all whose 21-piece Ohio State . no less than Stan Kenton nals. Their first place fin· (except perhaps a few poor great." (are you kidding?) one of Jazz Workshop Band, as of and who has never walked ish then sent them to Mi· losers) that McIntosh is in­ Thank heaven he's not the country's finest bands, this past Saturday, has ev­ away from any festival a m i. Downbeat really deed ready for the big the type of simpleton who coll~giate or other"'.ise. flipped its editorial wig on ery right to be called the without winning some­ time. It couldn't have hap· would add the absurdly ob· Like Kenton sa~d: Co- finest of its kind in the en- thing, if only the high that one, devoting nearly a pened to a nicer, more tal­ vious observation: "With· lumbus has a musical ge­ tire country. praise of reviewers for full column to McIntosh ented guy - a quiet man out them I couldn't have nius in its midst. Let's hope such respected publications and the band. ("They were who copied music for many done it."' he stays in our midst for a SCENE WAS THE na­ as Downbeat. together from the first note of us at the going rate of a It took 22 guys to carry while. tional finals of the annual Back in 1964 at the Villa­ and never faltered buck a page as recently as Intercollegiate Jazz Festi- nova Festival, someone de- striking .. a gifted writer, six months ago. home the bacon. They went (He did my copying for to win and did. Now they're ··.,.'TONIGHl 7:30 9: 1.5' six months before I knew the nation's top collegiate . 4th WEEK he was an arranger ... and ,if ~) .Anouk Aimee Billy Maxted Band then someone else had to Studio 35 Cinema tell me). I ~ Jf. A MAN in HIS SINGLE comment 3055 INDIANOLA AVE. Sports New Look when I asked if I -could do a Academy Award ANdAWOMAN ~FiiL:JIL:t 44m Best Supporting Actor By JOHN MILTON of the b i g · b a n d and jazz Walter Matthau Citiun-Journal Staff Writer sounds. There's a new look, but.the I THE BAND came off with "FORTUNE COOKIE" (Times 7:00 ~_ :~.~~- the album, ~~~~-1~ :'J~~~~~!~~~~·;,,~~,,;~~ ;;;;?_!~~': 1 / ,~ ·,,,;,, · ;*..,.;--=Ms., ··=,,,,. ~,=,;tr;;ffFMtJ~tt~~;'tf=ti'"'''"'.,,,,,,,.,-~« ~-t -:- 'I I David Haldeman, a senior at Makes Jazz Finals 1 Ohio State University and son OSU _Group Pf aces First David Haldeman, son of Mrs. I of Mrs. Trella Romine of Cale­ Trella Romine of RR 2, Cale­ donia, was one of 21 musicians donia, is appearing tonight with in the OSU Jazz Workshop Band In Music Festival the Ohio State University band which won the Intercollegiate A group of 21 Ohio State University undergradu­ in the jazz workshop in Miami, Jazz Festival at Villanova Uni­ ates won· first place at the national finals of the Inter­ Beach, Fla. versity near Philadelphia last collegiate Music Festival Saturday at Miami Beach, Fla. The Ohio band competed with \ weekend. Their prizes include a recording contract from a six others to gain tonight's fi. The group now will compete major recording company and a one week's booking at nals. in· the national finals of Inter­ Expo 67. David, who is president and collegiate Music Festivals, Inc., Under the baton of graduate student and OSU In­ business manager of the band, ; May 4-6 at Miami Be~c~. Fla. structor Ladd McIntosh, the OSU Jazz Worltshop Band plays trombone. The winners will be ehg1ble for won qualifying regional competition at Villanova Uni- State Department tours and ap­ pearances at EXPO '67 in Mon­ versity last February. · tre,ill, Canada, this summer. The band will appear at the Notre Dame Jazz Festival and give a concert at the University of Toledo this weekend. J~J:'z,V~~Shop Band Gives Concert June 4 . in· America in competition at Ladd McIntosh's pnze-w . Miami Beach earlier in the ning OSU School of Mus.1c month. Workshop Band will Miclntosh himself received OSU JAZZ J azz h A ard for sent a concert in Mers on the Stan Kenton . w riditorium at 3 p.m. on Sun- the best original Jazz compo- day June 4. sition. f k ts The Band, which Mclnto~h General adm~ss1on. ic e WORKSHOP BAND (a raduate assistant m at a nominal price will b_e o~ Scho~l of Mu.sic) directs, won sale at the Me~shon Auditon­ Direction-Ladd Mdtltosh the Duke Ell' "lgton A ward f?r um Ticket Office. the best colle~e stage band m In ~oncert IJazz B~nd G=~ MERSHON AUD1tt>RIUM Concert Sunday Sunday, June 4 -3 p.m. The Ohio State Jazz Workshop Band which recently placed first General Admission Tickets, Mershon Ticket Office at $1 in the big band category at the Seating on First~Come, first-Served Basis Intercollegiate Music Festival at Miami Beach will present a con- Doors Open 2:20 p.m. , cert Sunday at 3 p.m. at Mer­ For Information Call 293-2354 shon Auditorium on the OSU campus in Columbus. The band is led by Ladd Mc· Intosh who writes the arrange­ ments and original compositions for which the band is noted. David Haldeman, graduate of Harding High School, is presi• dent and business manager of the band and plays lead trom· bone. He is a candidate for June graduation from Ohio State in the School of Music. Wyandot Under Quota UPPER SANDUSKY-With the deadline of J u n e 30 drawing near, the Red Cross fund drive is reported short of its goal. The Wyandot County quota is $8,095.50. Of this amount, $5,· 618.01 has been collected tn date. College Jazz: Toward 2000 By JOHNS. WILSON MIAMI BEACH line has been made up of most 20 years ago to identify HERE are sounds bub• small groups--<:ombos, stu­ these school groups when it bling to tlle _surface of dent-organized and student­ was found that "jazz band" college jazz that could led- which rarely have had and even "dance band" sug­ T ·have a bearing not official sanction and fre­ gested all kinds of unholy only on the direction of jazz quently have run a gauntlet of opposition from either the visions to some school boards, in the future but on the over­ trustees and parents). all development of American music department or the music in the last quarter of administration. When college musicians be• the 20th century. The small groups, free of gan writing their own ar­ faculty supervision, have been rangements and composing Indications that the college their own "originals"-the generation of jazz musicians, more experimental than the big bands.
Recommended publications
  • Victory and Sorrow: the Music & Life of Booker Little
    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
    [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]
  • Gary Mcfarland Soft Samba Strings Mp3, Flac, Wma
    Gary McFarland Soft Samba Strings mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Latin / Funk / Soul Album: Soft Samba Strings Country: US Released: 1967 Style: Bossa Nova, Soul-Jazz, Big Band MP3 version RAR size: 1699 mb FLAC version RAR size: 1458 mb WMA version RAR size: 1325 mb Rating: 4.1 Votes: 748 Other Formats: MP1 WMA AA VQF MP4 WAV FLAC Tracklist Hide Credits Full Moon And Empty Arms (Based On Rachmaninoff's "Concerto No.2") A1 2:20 Composed By – Rachmaninoff*Written-By – Kaye*, Mossman* Skylark A2 3:00 Composed By – Carmichael*, Mercer* I Know The Meaning (Based On Tschaikowsky's "Romeo And Juliet") A3 3:07 Composed By – Tschaikowsky* Manhã De Carnaval (Morning Of The Carnival - From The Motion Picture "Black Orpheus") A4 2:50 Composed By – Bonfa* The Lamp Is Low (Based On A Theme From Ravel's "Pavane") A5 4:55 Composed By – Ravel*Written-By – Shefter*, Parish*, DeRose* Rêverie (Based On Debussy's "Rêverie") B1 2:50 Composed By – Debussy* These Are The Things I Love (Based On Tschaikowsky's "Melody, Opus 42 No. 3") B2 2:15 Adapted By – Harold Barlow, Lew HarrisComposed By – Tschaikowsky* Theme From "13" (An MGM Motion Picture) B3 2:20 Composed By – McFarland* Once We Loved B4 1:45 Composed By – McFarland* Our Love (Based On Tschaikowsky's "Romeo And Juliet") B5 2:20 Composed By – Tschaikowsky*Written-By – Bernier*, Clinton*, Emmerich* Companies, etc. Manufactured By – MGM Records Phonographic Copyright (p) – Metro-Goldwyn-Mayer, Inc. Copyright (c) – Metro-Goldwyn-Mayer, Inc. Recorded At – CTS Studios Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Arranged By, Vibraphone, Vocals – Gary McFarland Conductor – Jack Parnell Design [Cover] – Acy Lehmann* Engineer [Director Of Engineering] – Val Valentin Engineer [Englewood Cliffs] – Rudy Van Gelder Engineer [London] – Jack Clegg Photography By [Cover] – Pete Turner Producer – Creed Taylor Notes Recorded at CTS Studios, London, England (November 7, 1966) and Van Gelder Studios, Englewood Cliffs, New Jersey (October 27, 1966).
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Booker Ervin the Song Book Mp3, Flac, Wma
    Booker Ervin The Song Book mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Song Book Country: US Released: 1993 Style: Post Bop MP3 version RAR size: 1466 mb FLAC version RAR size: 1778 mb WMA version RAR size: 1408 mb Rating: 4.5 Votes: 541 Other Formats: TTA DTS DXD AU MP4 AC3 AIFF Tracklist Hide Credits The Lamp Is Low 1 7:13 Written-By – Shefter*, Ravel*, Parish*, DeRose* Come Sunday 2 5:37 Written-By – Duke Ellington All The Things You Are 3 5:19 Written-By – Kern*, Hammerstein* Just Friends 4 5:53 Written-By – Klenner*, Lewis* Yesterdays 5 7:42 Written-By – Kern*, Harbach* Our Love Is Here To Stay 6 6:25 Written-By – Gershwin*, Gershwin* Companies, etc. Copyright (c) – Fantasy, Inc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Remastered At – Fantasy Studios Credits Bass – Richard Davis Drums – Alan Dawson Engineer [Recording Engineer] – Rudy Van Gelder Liner Notes [May 1964] – Dan Morgenstern Piano – Tommy Flanagan Producer, Design [Cover], Photography By – Don Schlitten Remastered By [Digital Remastering, 1993] – Phil De Lancie Tenor Saxophone – Booker Ervin Notes Recorded in Englewood Cliffs, NJ; February 27, 1964 Digital remastering, 1993 (Fantasy Studios, Berkeley) © 1993, Fantasy, Inc. Printed in U.S.A. Barcode and Other Identifiers Barcode: 02521867792 Other (SPARS Code): AAD Other versions Category Artist Title (Format) Label Category Country Year PR 7318, PRST Booker The Song Book Prestige, PR 7318, PRST US 1964 7318 Ervin (LP, Album) Prestige 7318 The Song Book Booker VICJ-41556 (CD, Album,
    [Show full text]
  • Jazzweek with Airplay Data Powered by Jazzweek.Com • October 24, 2011 Volume 7, Number 46 • $7.95
    JazzWeek with airplay data powered by jazzweek.com • October 24, 2011 Volume 7, Number 46 • $7.95 Jazz Album No. 1: Poncho Sanchez and Smooth Album No. 1: Dave Koz, Hello Terence Blanchard, Chano y Dizzy (Concord Tomorrow (Concord) Jazz) World Music No. 1: Bill Frisell & Vinicius Smooth Single No. 1: Rick Braun, “Time Cantuaria, Lagrinas Mexicanas (eOne) after Time” (Artistry/Mack Avenue) Jazz Album Charts .................... 3 Jazz Add Dates ....................... 7 Smooth Jazz Album Charts .............4 Jazz Radio Currents ................... 8 Smooth Singles Charts ................. 5 Jazz Radio Panel .................... 11 World Music Album Charts .............. 6 Smooth Jazz Current Tracks............ 13 Smooth Jazz Station Panel............. 14 Jazz Birthdays October 24 November 1 November 10 Odeon Pope (1938) Lou Donaldson (1926) Paul Bley (1932) October 25 Gabe Baltazar (1929) Houston Person (1934) Eddie Lang (1902) Roger Kellaway (1939) Andrew Cyrille (1939) Jimmy Heath (1926) Lee Ritenour (1952) Hubert Laws (1939) Robin Eubanks (1955) November 2 November 11 October 26 Bunny Berigan (1908) Hoagy Carmichael (1899) Charlie Barnet (1913) Herb Geller (1928) Gunther Schuller (1925) Wayne Marsh (1927) Phil Woods (1931) Ernestine Anderson (1928) Eddie Henderson (1940) Frank Kimbrough (1956) Marvin Hannibal Peterson (1948) October 27 November 3 November 12 George Wallington (1924) Billy Mitchell (1926) Buck Clayton (1911) Philip Catherine (1942) Henry Grimes (1935) Charlie Mariano (1923) John McPhee (1939) November 13 October 28 Azar
    [Show full text]
  • Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary Mcfarland Legacy Ensemble | Blogcritics 5/29/15 12:18 PM
    Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary McFarland Legacy Ensemble | Blogcritics 5/29/15 12:18 PM Contact Us Writer Sign Up About Home TV Music Books Gaming Culture and Society Film Editor Picks Flash Fiction Today on Blogcritics Book Review: ‘Death Is Always a Resident,’ by Lorraine Jeffery Home » Editor Picks » Editor Pick: Music » Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary McFarland Legacy Ensemble Search to search type and hit enter Music Reviews: Jazz for the Jazz-Shy from John Tropea, Pat Bianchi Trio, and the Gary McFarland Legacy Ensemble Social Posted by: Jon Sobel May 28, 2015 in Editor Pick: Music, Editor Picks, Indie Roundup, Jazz, Music, Music Columns, Music Genres, R&B Please Share... 3 0 0 0 0 0 Mailing List Three new springtime jazz releases strike a balance between accessibility and aficionado appeal. Albums Sign up for our newsletter from guitarist John Tropea and organist Pat Bianchi’s trio both feature jazz organ, and the Gary McFarland Legacy Ensemble includes Joe Locke on McFarland’s instrument, the vibraphone. John Tropea’s Gotcha Rhythm Right Here is a collection of originals smacking of jazz fusion, R&B, funk, Editor’s Pick: Books and a sophisticated big band sound all at once. Book Review: ‘Death Is Always a Resident,’ by Lorraine Jeffery May 28, 2015 Editor’s Pick: Culture & Society I’m partial to the sound of the Hammond organ in Opening Job Opportunities For jazz, R&B, and rock alike.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • Morgenstern, Dan. [Record Review: Earl Coleman: Love Song] Down
    Records a re reviewed by Chris Albertson, Don DeMicheal, Gilbert M. Erskine, Ira Giller, Alan Heineman, Lawrence Kart, John Litweiler, Bill Mathieu , Marian McPartlond, Don Morgenstern, Don Nelse n, Harvey Pe kar , William Ruuo, Harvey Siders, Carol Sloane , and Pete Welding, Reviews are signed by the writers. Ratings ore: * * * * * exce llent, * * * * very good, * * * good, * * fair, * poor. When two cata log numbers ore listed, the flrst is mono, and the second is dereo . Richard Abrams ---------• comes hoa rse with excitement, and a quite accurate imitations of bird call!. LEVELS AND DEGREES OF LIGHT - Del• grace[u l manner of phrasing. He can play mark DS-4t3: Uv,is a,ut Degrees of Light; My Within this aviary there is an impassiorrd Thoughls ,sre l\fy Fu/ure-Now and Fort11er: The at a spee d about one-third slower than the duet between Braxton and Mclnlyr~. Bird Snug. basic pulse and then grad ually accelerate Personne l : Abrams. cl arinet, piano; An rhooy Extra-musica l factors make this a d.ffi. Braxton, aho saxop hon e; Maurice McIntyre, rcnor until he matches the pulse of the rhythm cult album to rate. I don't know wheille1 saxophone; Gordon Emmanuel, vibraharp (tracks section (Co ltran e does this during his My 1. 2); Leroy Jenkins, violin (crack 3 only); to blame Abrams , a&r man Bob Koe,1e:­ Charles Clark , bass: Leonard Jones. bass (crack Fa vorite Things solo on Coltrane L ive at the engineer, or all three, but the alb1111 3 only); Thurman Barker, drums: Penelop e Tay• the Village Vanguard Again).
    [Show full text]
  • May 2001 03 Jazz Ed
    ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us.
    [Show full text]
  • The Playlist!
    THE SOUNDS OF THE SEASON NOON, DECEMBER 24 - MIDNIGHT, DECEMBER 25, 2020 PRESENTED BY JAZZ 88.3 KSDS Number Name Artist Album Time Hour #01 NOON TO 1 PM DECEMBER 24 001 The Sounds of the Season - Open 0:45 002 ‘Twas the Night Before Christmas Chuck Niles 3:46 003 Jingle Bells Duke Ellington Jingle Bell Jazz (rec. 1962) 3:02 004 Frosty the Snowman Roy Hargrove & Christian McBride Jazz for Joy - A Verve Christmas Album (rec. 1996) 3:56 005 Sleigh Ride Ella Fitzgerald Ella Wishes You a Swinging Christmas! (rec. 1960) 2:59 006 Winter Wonderland The Ramsey Lewis Trio Sound of Christmas (rec. 1961) 2:08 007 O Tannenbaum Vince Guaraldi A Charlie Brown Christmas (rec. 1964) 5:09 008 Home for the Holidays Joe Pass Six-String Santa (rec. 1992) 4:00 009 The Sounds of the Season ID 0:45 010 Let It Snow! Let It Snow! Let It Snow! Brynn Stanley Classic Christmas (rec. 2019) 3:44 011 Line for Santa Octobop West Coast Christmas (rec. 2012 4:07 012 White Christmas Booker Ervin Structurally Sound (rec. 1966) 4:28 013 Deck the Halls Gerry Beaudoin & The Boston Jazz Ensemble A Sentimental Christmas (rec. 1994) 2:39 014 I’ll Be Home for Christmas Tony Bennett The Tony Bennett Christmas Album 2:14 015 The Christmas Song Scott Hamilton Christmas Love Song (rec. 1997) 5:44 016 Have Yourself a Merry Little Christmas Ron Affif Christmas Songs (rec. 1992) 5:01 017 The Christmas Waltz Beegie Adair Trio Jazz Piano Christmas (rec. 1989) 2:42 HOUR #02 1 PM TO 2 PM DECEMBER 24 018 The Sounds of the Season ID 0:45 019 A Holly Jolly Christmas Straight No Chaser Social Christmasing (rel.
    [Show full text]