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Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L. -
Beginning Jazz Guitar Ebook Free Download
BEGINNING JAZZ GUITAR PDF, EPUB, EBOOK Jody Fisher | 96 pages | 01 Jul 1995 | Alfred Publishing Co Inc.,U.S. | 9780739001103 | English | United States Beginning Jazz Guitar PDF Book Image 1 of 4. Having started out as a classical player and now dabbling in other styles like jazz, my eyes have really opened to the amazing possibilities that improvisation can bring. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. Download Jam Track Jam Track. Laurence says:. Additional Information. Chuck Johnson on November 16, at am. I would really appreciate your feedback, so do let me know what you think about this post by leaving a comment below. Advertisement - Continue Reading Below. This goes for all the chords. In this guitar lesson, you will learn 6 variations of the jazz blues progression going from the basic blues to more modern variations like the bebop blues. Thank you. A famous jazz musician once said 'jazz can be taught in just three lessons; 1st lesson: practice for 10 years; 2nd lesson: practice and perform for 10 years; 3rd lesson: practice, perform and develop your art for 10 years. The fifth and last element is the improvisation. My pleasure Donald, thanks for reading : Reply. Also has a quite good acoustic amp setting for acoustic guitars with pickup — very versatile amp with a great sound. Added to cart. Although music theory has a bit of a bad reputation, it can make your life as an improvising guitarist a lot easier. So a major the 7th note of the major scale is added to the major chord. -
The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1St Edition Pdf, Epub, Ebook
THE NORTON JAZZ RECORDINGS 2 COMPACT DISCS FOR USE WITH JAZZ: ESSENTIAL LISTENING 1ST EDITION PDF, EPUB, EBOOK Scott DeVeaux | 9780393118438 | | | | | The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition PDF Book A Short History of Jazz. Ships fast. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. Miles Davis: E. Retrieved 14 January No recordings by him exist. Subgenres Avant-garde jazz bebop big band chamber jazz cool jazz free jazz gypsy jazz hard bop Latin jazz mainstream jazz modal jazz M-Base neo-bop post-bop progressive jazz soul jazz swing third stream traditional jazz. Special Attributes see all. Like New. Archived from the original on In the mids the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. Traditional and Modern Jazz in the s". See also: s in jazz , s in jazz , s in jazz , and s in jazz. Charlie Parker's Re-Boppers. Hoagy Carmichael. Speedy service!. Visions of Jazz: The First Century. Although most often performed in a concert setting rather than church worship setting, this form has many examples. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. Season 1. Seller Inventory While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Pressinfo (English)
Sketchbook Quartet Press Info “When eclectic postmodern chamber jazz meets rock. Rich with detail and a charming compositional finish that leaves you year- ning for the unexpected.” (Andreas Felber, OE1/ WDR 3 Jazznacht) Prog rock, chamber Jazz, dynamic ever-shifting rhythms, unusual instrumentation? Check. Vienna-based Sketchbook Quartet freely play with genre stereotypes. Form surf rock to squealing improv, their unorthodox instrumentation and elaborate compositions, combined with their passion, make for a dynamic fresh and groovy sound. (12 Points Festival-Dublin) Listening to the tracks of SKETCHBOOK QUARTET, there is definitely an initial element of surprise. Oh, so this is also how jazz can sound like! The music of the experimental friendly Viennese quartet has little to do with jazz in the classical or traditional sense. Not only is the lineup of Sketchbook Quartet rather unorthodox, but the music and sound of Leonhard Skorupa (saxophone, clarinet), Daniel Moser (bass clarinet), Andi Tausch (guitar) and Konstantin Kräutler (drums) is also quite unusual, idiosyncratic and untypical for the genre. The music is all about the mood and atmosphere, creating tension that is constantly increased, until it finally reaches its climax with a big bang. Marked by an abundance of warmth and beauty, the music of the quartet hits a captivating tone of jazz that invites the listener to immerse into the music and drift through the sonic events. (Austrian Music Export) Sketchbook Quartet are: Leonhard Skorupa – Saxophone Andi Tausch - Guitar Daniel Moser - Bassclarinet, FX Konstantin Kräutler - Drums Contact/Booking: Daniel Moser: [email protected] +43 650 850 6553 Leonhard Skorupa: www.sketchbookquartet.com +43 676 47 16 198 facebook.com/sketchbookquartet Discography "When Was The Last Time Vol. -
Ithaca College Alumni Big Band
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-26-2008 Concert: Ithaca College Alumni Big Band Ithaca College Alumni Big Band Steve Brown Ray Brown Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Alumni Big Band; Brown, Steve; and Brown, Ray, "Concert: Ithaca College Alumni Big Band" (2008). All Concert & Recital Programs. 6670. https://digitalcommons.ithaca.edu/music_programs/6670 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE ALUMNI BIG BAND Steve Brown and Ray Brown, musical directors Ford Hall Saturday, April 26, 2008 8:15 p.m. PROGRAM Straightahead City Ray Brow Bossa Barbara Steve Brown Arr. Ray Brown Sweet Angel Steve Brown Lyrics: Tish Rabe Two Birds, On~ Stone Steve Brown Embraceable You/Quasimodo Gershwin/Parker Arr. Ray Brown The Telephone Song Menescal/Boscoli/Gimbel .. Arr. Ray BrowU Bittersweet Willie Maiden Trans. Ray Brown The Best of Everything Tony Bennett Arr. Steve Brown Our Love Is Here To Stay George Gershwin Air. Ray Brown INTERMISSION Del Sasser Sam Jones Arr. Ray Brown PickYours·elf Up Fields/Kem Arr. Neal Hefti Trans. Tony DeSare Kayak Kenny Wheeler Arr. Ray Brown Barbara Horace Silver Arr. Ray Brown I Could Write A Book Rodgers/Hart Arr. Ray Brown The Thumb Wes Montgomery Arr. Ray Brown The Ballad of Thelonious Monk Jimmy Rowles Arr. -
13. Cleveland Jazz Guitarists
13. Cleveland Jazz Guitarists itariSts who grew up in still a teenager. He joined the leveland have been among musicians' union when he was 16. By Gthe most important and most 1940, when he was 17, he was playing acclaimed in jazz history. They all at parties and country clubs around drew their inspiration from the all Cleveland. "I played with band leaders time grand masters of jazz guitar, Clint Noble and Jack Horowitz," he Django Reinhardt and Charlie said, but he had bigger plans. Christian. "In 1941, I went to New York to become famous. My father borrowed Fred Sharp $50 on his life insurance policy and Anyone who was even a casual gave me the money to go. Joe Sharp listener ofjazz in Cleveland from the never had money at all. In New York, 1940s to the '80s probably heard I put in for my union card. You had to guitarist Fred Sharp. He played with stay six months to get your card and I some ofthe biggest names in jazz and went to the union floor every day and was the man Jim Hall credited as his started to get some club dates. The teacher. scale was $7 then for a club date, but In the mid-1930s, when Sharp was most everybody paid $4." growing up in the Glenville area of Courtesy of Fred Sharp When he was still in his teens, Fred Sharp and Babik Reinhardt, Cleveland and listening to music on Sharp remembered he almost starved the 23-year-old son of Sharp's the radio, the guitar, with a few guitar idol Ojango Reinhardt, in trying to become famous in New exceptions, was not a solo jazz voice, Paris in 1967 York. -
Great Escape Vol. 1
THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Vol 1 No. 1 March/April 2007 Quotable Jazzmen: The Bandleaders By Bob Knack© book on Dorsey, “Living in a Great Big Way,” before beginning a set, TD would often look up at his boys Big band era leaders were not only great and say, “Get ready to play big league ball”. showmen and/or businessmen they were outspoken, Although another trombone-playing leader, as well. Let us consider a few of those men who led Glenn Miller, along with Dorsey, enjoyed fronting their the big outfits back in the day, who had something bands, they were both recognized as tough piquant to say about virtually everything. businessmen. “Don’t judge me as a musician,” said Many of the early big bands played strictly for Miller, whose first job as a boy was milking a cow for the dancers…that’s where the money was. Artie just pennies, “All I'm interested in is making money.” Shaw, though, didn’t care for the jitter-buggers. “You Glenn, who knew his audience admonished, “I can dance to a windshield wiper,” groused the haven't a great jazz band, and I don't want one.” clarinetist, “A windshield wiper…gives you a beat and During the war years, Dorsey added a string section all you need is an out-of-tune playing ‘Melancholy to a band that as it grew to forty-six musicians was Baby’ and you’ve got dance music.” However, called “The Big Bertha Band”. -
Steve Turre Hangs on at No. 1 Stefano Di Battista
JazzWeek with airplay data powered by jazzweek.com • January 26, 2005 Volume 1, Number 10 • $7.95 In This Issue: Sirius Adds A POWERFUL Lundvall and JAZZ Burton. 4 TRIBUTE: KBEM’s $25K from Clear MILES, Channel. 7 WYNTON, Ken Borgers AND JACK Named MD at JOHNSON KCLU . 8 by Keith and Kent Verve Zimmerman Relaunches p12 Forecast . 9 Reviews and Picks. 16 Jazz Radio . 19 Smooth Jazz Radio. 24 Radio Panels. 28 More News . 4 Charts: #1 Jazz Album – Steve Turre #1 Smooth Album – Soul Ballet #1 Smooth Single – Soul Ballet JazzWeek This Week EDITOR Ed Trefzger adly, we heard the news of Mort Fega’s passing a couple of days ago. CONTRIBUTING EDITORS Mort was talked about at the Legends of Radio panel that Steve Keith Zimmerman SSchwartz hosted at IAJE, a panel Mort would have been on had he Kent Zimmerman been able to. Mort meant a lot to so many listeners, broadcasters, and musi- Tad Hendrickson cians, and was a friend and mentor to many. We’ll pay tribute to him in an CONTRIBUTING WRITER upcoming issue, and we’d like those of you who knew him best to share your Tom Mallison recollections and tributes. Drop me a note at [email protected] with your PHOTOGRAPHY thoughts; we’ll collect them and share them with everyone. Barry Solof The loss of two jazz radio legends in the past year – Mort and Chuck Niles – makes me wonder from where the next generation of legends is going PUBLISHER to come. I could suggest a few names, but I’m afraid I’d leave somebody out, Tony Gasparre so I won’t, but I wonder if conditions are too infertile. -
Jazzletter 93022 November 1987 Vol.6 No
G€Tl€ L865 P.O. Box 1305 Oak View. Calif. Jazzletter 93022 November 1987 Vol.6 No. t 1 _| i .___ Of Typos and Ojai the best anywhere. Browsing there is the best game in town. The struggle to eliminate typographical and spelling errors Oak View is a smaller town on the road between Ventura and from copy is without end. It has been eased by the computer, Ojai. We live closer to Oak View than to Ojai, and it occurred to which will catch major spelling mistakes, but the computer thus me that it would be more convenient to operate out ofthere than far cannot detect whether you wrote two when you meant too or the Ojai post office. And the Oak View staff and the postmaster, to, or there when you meant their, or here for hear. whose name by the way is Burt Reynolds, were wonderfully Sometimes the errors are small —- and not always, one helpful, so I moved the mailing to Oak View. But we didn’t move. suspects, accidental. In my newspaper days, we were reasonably , When last month I made up the renewal form, I told my certain that typographers made certain slips on purpose, because typesetter to just pick up the logo. He did, all right: the old one, some of them occurred time after time, and on newspaper after with the Ojai address. Which, fortunately, is still valid. But I newspaper. Little things like leaving the o out ofcount. In the old didn’t notice this massively obvious error until the entire issue days, the people on the sports pages were diligent indeed in the had been mailed. -
Incredible Jazz Guitar of Wes Montgomery”— Wes Montgomery (1960) Added to the National Registry: 2016 Essay by Maristella Feustle (Guest Post)*
“The Incredible Jazz Guitar of Wes Montgomery”— Wes Montgomery (1960) Added to the National Registry: 2016 Essay by Maristella Feustle (guest post)* Album cover Original label Wes Montgomery “The Incredible Jazz Guitar of Wes Montgomery” was the breakthrough recording that brought Wes Montgomery (1923-1968) to the attention of a wider audience and kept him there. Critically acclaimed in the year of its release, with a five-star review by Ira Gitler in “DownBeat” magazine, the album has remained a landmark recording in the history of jazz guitar, and one of timeless artistry. It is noteworthy for its creativity, its impact in securing Montgomery’s place among legendary jazz guitarists, and for its enduring inspiration to musicians and listeners. Recorded January 28 and 30, 1960 in New York City, at the storied Reeves Sound Studios, the album was one of many Riverside titles which featured Montgomery as a leader or a sideman between 1959 and 1963, and part of several Riverside sessions that included Montgomery that were made during that week. Those sessions resulted in Nat Adderley’s “Work Song” and “The Incredible Jazz Guitar of Wes Montgomery,” both of which were produced by Orrin Keepnews. Only months earlier, Nat’s brother, Julian “Cannonball” Adderley had brought Montgomery to Keepnews’ attention after hearing him in Montgomery’s hometown of Indianapolis. While Montgomery’s debut album for Riverside and Keepnews, “The Wes Montgomery Trio” heralded “a dynamic new sound,” it was “The Incredible Jazz Guitar” with which that new sound became a permanent fixture of jazz guitar. The album itself is a study in versatility, as Montgomery excels equally on up-tempo tunes, blues, ballads, jazz waltz, and medium swing, with the support of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums.