Russell Wilson, Piano Department of Music, University of Richmond

Total Page:16

File Type:pdf, Size:1020Kb

Russell Wilson, Piano Department of Music, University of Richmond University of Richmond UR Scholarship Repository Music Department Concert Programs Music 9-13-1998 Russell Wilson, piano Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Russell Wilson, piano" (1998). Music Department Concert Programs. 730. https://scholarship.richmond.edu/all-music-programs/730 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND DEPARTMENT OF Music ••• Russell Wilson, piano assisted by Clarence Seay, bass ••• SEPTEMBER 13, 1998, 3:oo PM CAMP CONCERT HALL, BooKER HALL oF Musrc RussELL WILSON, a native of Memphis, Tennessee, is an outstanding classical and jazz pianist who received his bachelor and master of music degrees from Memphis State University. Formerly a member of Virginia Union University's faculty, he now teaches at the University of Richmond and at Virginia Commonwealth University and performs regularly with the Russell Wilson Quartet and Joe Kennedy Quartet. Mr. Wilson enjoys a distinguished career as a solo and chamber music performer. He is the principal pianist of the Richmond Symphony Orchestra and the Richmond Sinfonia, where he has performed as a soloist and has accompanied world class artists including Mel Torme, Richard Hyman, Cab Calloway, Chet Atkins, Steve Allen, and Carol Lawrence. Mr. Wilson's performances over the years have been numerous and varied: as pianist with the Joe Kennedy Quartet at the National Association of Jazz Educators Conference in Atlanta; with the Louisville Symphony Orchestra as accompanist for flautist Leslie Burrs; at the Smithsonian Institution as pianist with Trio Pro Viva, a chamber ensemble devoted to the RUSSELL WILSON performance of music by Black composers. As soloist, he has performed Beethoven's Piano Concerto No. 1 in C major with the Petersburg Symphony Orchestra; Duke Elington's New World a' Cornin' with the New River Valley and the Richmond Symphony orchestras, and Mozart's Piano Concerto No. 23 in A-major. Wilson was selected to perform in master classes conducted by Earl Wild and Leon Fleisher. In addition to his performances, he has conducted improvisational workshops for the Richmond Music Teachers Association, Richmond Jazz Society (Bach, Bop and Beyond), Virginia Polytechnic Institute and Virginia State University with violinist Joe Kennedy, Jr. Benefit concerts have been presented for American Field Services and Richmond Area Retarded Citizens. As a recording artist, he is featured as soloist on Moonlight Piano, The Memphis Convention, and the Smithsonian Jazz CD Big Band Treasure Live. Since the summer of 1995 he has been the pianist for the Smithsonian Jazz Masterworks Orchestra conducted by David Baker. He began touring in January, 1996, celebrating the 150th year of the Smithsonian exhibition. Concerts have been in Kansas, Colorado, California, Rhode Island, and Washington. CLARENCE SEAY, former bassist with the Great Ameri­ can Music Ensemble (G.A.M.E.) is a native of Wash­ ington, D.C. who attended the Duke Ellington School of the Arts and Howard University. He has recorded with Wynton Marsalis, Chico Freeman, and Jae Sinnett, and has toured Europe, India, Iceland, South America and Japan with Billy Harper, Chico Free­ man, Horace Silver, and Lou Donaldson. In the sum­ mer of 1994 Seay toured with Helen Merrill and now records and tours with trumpeter Wallace Roney whose 1994 release of Misterios on Warner Brothers label has received rave reviews. Seay was a featured performer on a 1995 CD com­ memorating ten of America's jazz legends. He also performs regularly with jazz violinist Joe Kennedy Jr. and with the Russell Wilson Ensemble. Formerly an instructor of bass at Virginia Commonwealth Uni­ versity, he now concentrates on touring, recording, and freelancing. CLARENCE SEAY r ••• PROGRAM ••• I Sonata in C minor, K. 11 Domenico Scarlatti Allegro (1685-1757) Sonata in C major, K. 513 Pastorate, Moderato Molto allegro Presto sonata in G minor, K. 8 Allegro piano Sonata, no. 3, op. 5 Johannes Brahms Allegro maestoso (1833-1897) Andante expressivo Scherzo Intermezzo Finale ••• INTERMISSION ••• pantasie Negre Florence B. Price (1888-1953) Troubled Water Margaret Bonds (1913-1972) Graceful Ghost Rag William Bolcom (b. 1938) with CLARENCE SEAY I've Never Been In Love Before Frank Loesser from Guys and Dolls (1910-1969) Estate (Summer) Bruno Martino A TRIBUTE ... featuring works by Duke Ellington (1899-1974) George Gershwin (1898-1937) GEORGE M. MODLIN CENTER FOR THE ARTS SCHEDULE OF EVENTS Admission is free of charge unless otherwise indicated Consuelo Kanaga: An American Photographer To September 26, 1998 Marsh Art Gallery Organized by the Brooklyn Museum ofArt, this exhibition of American artist Consuelo Kanaga (1894- 1978) includes her work as photojournalist and documentarian of African-Americans in context with the formal innovations and social content of her life's work. Art for the University: Celebrating the 30th Anniversary of the Marsh Art Gallery To September 26, 1998 Marsh Art Gallery The Marsh Art Gallery features gifts to its permanent collection in celebration of thirty years of providing a forum for the visual arts in the University community. David Headley: Seashells Sonata To December 12, 1998 Marsh Art Gallery David Headley presents a site-specific series created for the Marsh Art Gallery. Installed in four bays, like movements in a sonata, these paintings depict the diminutive seashell as human-scale architecture. David Niethamer, Marta Schworm Weldon, Nicholas Lewis, clarinets, John Walter, piano September 14, 1998, 8 pm Camp Concert Hall, Booker Hall of Music The three clarinets are joined in this concert by pianist John Walter. Shanghai Quartet with Andre-Michel Schub, piano Wednesday, September 16, 1998, 8 pm Camp Concert Hall, Booker Hall of Music Sponsored in part by the University of Richmond Cultural Affairs Committee University of Richmond's quartet-in-residence, the Shanghai Quartet, is joined by pianist Andre-Michel Schub, winner of the 1981 Van Cliburn International Piano Competition. Adults $14, Sr. Citizens $12, Faculty/Staff$10, UR Students FREE Call 289-8980 for tickets. Public Nightmare: Eichenberg's Dance of Death Robert Conway, Director of the Fritz Eichenberg Foundation and co-curator of the exhibition, speaker Thursday, September 24, 1998 7 pm, Lecture, Frederick Rehearsal Hall 8 pm Opening Reception, Booth Lobby, March Art Gallery Witness to Our Century: An Artistic Biography of Fritz Eichenberg September 25 to December 12, 1998 Marsh Art Gallery Organized by Vanderbilt University Fine Arts Gallery, the exhibition chronicles the art and life of Fritz Eichenberg ( 1901-1990) with sketches, drawings and wood engravings ranging from political cartoons during his early years in Germany to his dramatic book illustrations done while living in New York. Smithsonian Jazz Masterworks Orchestra David N. Baker, Musical Director Monday, September 28, 1998, 8 pm Carpenter Center for the Performing Arts Sponsored by the E. Rhodes and Leona B. Carpenter Foundation The Smithsonian Jazz Masterworks Orchestra was founded in 1990 with a congressional appropriation in recognition of the importance ofjazz in American culture. This critically acclaimed ensemble serves as the orchestra-in-residence at the National Museum of American History in Washington, D.C., and tours extensively throughout the United States. This concert will feature the works of Count Basie and Neal Hefti. America's legendary big band pioneers. Adults $15, Sr. Citizens $13, Faculty/Staff $10, UR Students FREE Call 289-8980 for tickets. .
Recommended publications
  • Eartrip7.Pdf Download
    CONTENTS Editorial An internet-related rant and a summary of the delights to follow in the rest of the current issue. By David Grundy. [pp.3-4] Listening to Sachiko M 12,000 words (count' em) – a lengthy, and no-doubt futile attempt to get to grips with some of the recordings of empty-sampler player (or, in her own words, 'non-musician'), Sachiko M, including interminable ramblings on such albums as 'Bar Sachiko,' 'Filament 1', and 'Tears'. By David Grundy. [pp.5-26] The Drop at the Foot of the Ladder: Musical Ends and Meanings of Performances I Haven't Been To, Fluxus and Today 11,000 words (count 'em), covering the delicate and indelicate negotiations between music and performance, audience and performer, art and non-art, that take place in the 1960s works of Fluxus and their distant inheritors, Mattin and Taku Unami. By Lutz Eitel. [pp.27-52] Feature: Live in Seattle Two solo takes and a duo relating to Coltrane's 1965 recording, made at the breaking point of his 'Classic Quartet', poised between old and new, music that pushes at the limits and drops back only to push again with furious persistence. By David Grundy and Sean Bonney. [pp.53-74] Interview: The Rent To call The Rent a Steve Lacy 'tribute band' would be to do them an immense disservice, though their repertoire consists mainly of Lacy compositions. Their conversation with Ted Harms covers such topics as inter-disciplinarity, the Lacy legacy, and the notion of jazz repertoire. [pp.75-83] You Tube Watch: Billy Harper A feature devoted this issue to the great Texan tenor Billy Harper.
    [Show full text]
  • Stepstep I Step I Step Into Step Into
    STEP I STEP STEP I STEP INTO STEP INTO STEP INTO JA STEP INTO JAZZ STEP INTO JAZZ M STEP INTO JAZZ MU STEP INTO JAZZ MU STEP INTO JAZZ MU North Carolina Central University Jazz Studies step into the world of jazz music azz is a music genre that originated at the beginning of the 20th Century, arguably earlier, within the African-American communities of the Southern United States. Its roots lie in the combining by African- Americans of certain European harmony and form elements, with their existing African-based music. Its African musical basis is evident in its use of blue notes, improvisation, polyrhythms, syncopation and the swung note.[1] From its early development until the present day, jazz has also incorporated elements from popular music especially, in its early days, from American popular music. As the music has developed and spread around the world it has, since its early American beginnings, drawn on many different national, regional and local musical cultures, giving rise to many distinctive styles: New Orleans jazz dating from the early 1910s, big band swing, Kansas City jazz and Gypsy jazz from the 1930s and 1940s, bebop from the mid- 2 CCU offers study leading to the bachelor of music and master of music in Jazz Studies. Our stellar faculty includes Dr. Ira Wiggins (Director, saxophone), Branford Marsalis (Artist-in-Residence, saxophone), Joey NCalderazzo (Artist-in-Residence, piano), Brian Horton (saxophone), Arnold George (saxophone/vocal), Lenora Helm (vocal), Albert Strong (trumpet), Robert Trowers (trombone), Ed Paolantonio (piano), Baron Tymas (guitar), Damon Brown (bass) and Thomas Taylor (percussion).
    [Show full text]
  • Harold MABERN: Teo MACERO
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Harold MABERN: "Workin' And Wailin'" Virgil Jones -tp,flh; George Coleman -ts; Harold Mabern -p; Buster Williams -b; Leo Morris -d; recorded June 30, 1969 in New York Leo Morris aka Idris Muhammad 101615 A TIME FOR LOVE 4.54 Prest PR7687 101616 WALTZING WESTWARD 9.26 --- 101617 I CAN'T UNDERSTAND WHAT I SEE IN YOU 8.33 --- 101618 STROZIER'S MODE 7.58 --- 101619 BLUES FOR PHINEAS 5.11 --- "Greasy Kid Stuff" Lee Morgan -tp; Hubert Laws -fl,ts; Harold Mabern -p; Boogaloo Joe Jones -g; Buster Williams -b; Idriss Muhammad -d; recorded January 26, 1970 in New York 101620 I WANT YOU BACK 5.30 Prest PR7764 101621 GREASY KID STUFF 8.23 --- 101622 ALEX THE GREAT 7.20 --- 101623 XKE 6.52 --- 101624 JOHN NEELY - BEAUTIFUL PEOPLE 8.33 --- 101625 I HAVEN'T GOT ANYTHING BETTER TO DO 6.04 --- "Remy Martin's New Years Special" James Moody Trio: Harold Mabern -p; Todd Coleman -b; Edward Gladden -d; recorded December 31, 1984 in Sweet Basil, New York it's the rhythm section of James Moody Quartet 99565 YOU DON'T KNOW WHAT LOVE IS 13.59 Aircheck 99566 THERE'S NO GREEATER LOVE 10.14 --- 99567 ALL BLUES 11.54 --- 99568 STRIKE UP THE BAND 13.05 --- "Lookin' On The Bright Side" Harold Mabern -p; Christian McBride -b; Jack DeJohnette -d; recorded February and March 1993 in New York 87461 LOOK ON THE BRIGHT SIDE 5.37 DIW 614 87462 MOMENT'S NOTICE 5.25 --- 87463 BIG TIME COOPER 8.04 --- 87464 AU PRIVAVE
    [Show full text]
  • A Study of Jazz Artist 재즈연주자탐구 3
    A Study Of Jazz Artist 재즈연 주자탐구 3 임정택함박골선비지음 소개글 내가 재즈 음악을 좋아하여 2005년 말경에 하던 사업을 그만 두고 은퇴, 분당 불곡산 산짜락에 거하면서 시간이 남아 돌아 본격적으로 재즈를 연 구하기 시작하였습니다. 우선 Jazz Standard CD 판부터 모으기 시작하였는데 무려 3천여장을 수집, 재즈 감상에 몰입하였습니다. 아카대미 재즈음악학원에 3년동안 부지런히 다니며 피아노 재즈 음악을 공부하였고 명지대학교 생활음악학과 실습반에서 1년 동안 테너 색스폰 실기교 육을 받았습니다. 이걸 바탕으로 재즈 아티스트 한사람 한사람을 꼼꼼히 챙기며 무려 200 여명을 독학으로 조사, 탐구하였습니다. 이것 저것 영 문서적과 몇 안되는 한국어판 관련 책을 샅샅이 뒤져 10여년 동안 Daum Blog에 유명한 Jazz Artist 약력과 Standard 명곡을 일일이 해석하여 올려 놓았습니다. 재즈는 3%의 음악이지만 나는 97%의 다른 음악보다 더 사랑합니다. 목차 1 Tommy Flanagan 6 2 Tony Williams 9 3 Toots Thielemans 13 4 Jazz artist stuv - Extra artist 16 5 Walter Davis 17 6 Wardell Gray 19 7 Wayne Shorter 21 8 Wes Montgomery 28 9 Wilbur Harden 31 10 Wycliffe Gordon 33 11 Winton Kelly 35 12 Winton Marsalis 37 13 Zoot Sims 43 14 Jazz artist wxyz - Extra artist 46 15 재즈 이야기 47 16 Jazz Music Maps - Trumpet 60 17 Jazz Music Maps - Soprano Saxophone 63 18 Jazz Music Maps - Alto Saxophon 65 19 Jazz Music Maps - Tenor Saxophone 68 20 Jazz Music Maps - Baritone Saxophine 72 21 Jazz Music Maps - Fluegelhorn 73 22 Jazz Music Maps - Frenchhorn 74 23 Jazz Music Maps - Cornet 75 24 Jazz Music Maps - Clarinet 76 25 Jazz Music Maps - Guitar 78 26 Jazz Music Maps - Trombone 81 27 Jazz Music Maps - Flute 83 28 Jazz Music Maps - Vibraphone 85 29 Jazz Music Maps - Organ 87 30 Jazz Music Maps - Synthesizer/Electric Keyboards 89 31 Jazz Music Maps - Accordion 91 32 Jazz Music Maps - Harmonica 93 33 Jazz Music Maps - Piano 94 34 Jazz Music Maps - Bass Clarinet 97 35 Jazz Music Maps - Bass Acoustic 98 36 Jazz Music
    [Show full text]
  • Beyond Modern Jazz
    BEYOND MODERN JAZZ THE EVOLUTION OF POSTMODERN JAZZ PERFORMANCE AND COMPOSITION FROM 1969 TO THE PRESENT DAVID OWEN RESTIVO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO OCTOBER, 2017 © David Owen Restivo, 2017 ABSTRACT In the following paper, I will address what I perceive to be a gap in scholarship regarding the evolution of African-American classical music (popularly referred to as ‘jazz’) following the end of its primary phase of development, which I would refer to as the pre- modern and modern periods, and which I define as stretching roughly from the turn of the last century until the end of the 1960s. To this end, I will borrow from concepts of postmodernism as expressed by Jean-François Lyotard, James Morley, and Kenneth Gloag, in order to attempt to define what I feel it means within the context of the jazz lineage. In the process of examining this ‘post-history’, I will bring particular focus to the contributions of two key figures, Keith Jarrett and Wynton Marsalis. I will also look at a series of my own compositions and consider where they fit into the ‘postmodern’ paradigm. ii ACKNOWLEDGEMENTS Many thanks to the following people, without whom this project would not have been possible: Dr. Sundar Viswanathan; Prof. Barry Elmes; Prof. Michael Coghlan; Prof. Ron Westray; Prof. David Mott; Prof. Paul Sych; Tere Tilban-Ross; Peggy Jane Hope; Mary Margaret Hope-Restivo; Dr. Valerie Alia; Dr. Sal Restivo; Dan Restivo; Alan Henderson; Terry Promane; Fawn Fritzen; Mark Chambers.
    [Show full text]
  • Champian Fulton Live from Her Living Room
    July / August 2020 Volume 48 Issue 4 www.njjs.org Magazine of the New Jersey Jazz Society Champian Fulton Live From Her Living Room Dedicated to the performance, promotion and preservation of jazz. ALL THAT’S JAZZ! By Cydney Halpin President, NJJS The past several months have been a real test of our collective strength and resilience, physically, emotionally, spiritually and financially. As I’ve searched for the words to address the impact and the horrors of the deeply disturbing violence in America - both as an individual and as the president of this organization, I find myself drawing from messages and input I’ve received from the Louis Armstrong House Museum, friends and colleagues Stephen Fuller and Don Braden, and pianist Emmet Cohen. With their permission, I’m sharing the following collective message with you: Racism, bigotry, and discrimination have sadly plagued our country for centuries. As an organization dedicated to the performance, promotion and preservation of jazz – the American art form created and molded in Black communities, the New Jersey Jazz Society must stand in solidarity with our Black brothers and sisters and peacefully, yet firmly, protest the violence that has unjustly taken so many. We mourn the tragic and senseless deaths of George Floyd, Breonna Taylor, Ahmaud Arbery, and too many others. We empathize deeply with the families and friends of all those who are suffering not only the loss of a loved one, but also of a member of their communities. A more equitable world may not be built without a struggle, but our actions as empathetic human beings will ensure that we get closer every day and that each person in our country, regardless of race and national origin, are able to live happy, healthy, and prosperous lives, and that such lives are enjoyed without fear.
    [Show full text]
  • Guide to the Program in African American Culture Collection
    Guide to the Program in African American Culture Collection NMAH.AC.0408 Vanessa Broussard-Simmons, Bryanna Bauer, Stacey Coates, Kendra Doyle, Sarah Gould, Ida Jones, Melissa Kauffman, and Wendy Shay 2019 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Program Files, 1979-2004, undated......................................................... 5 Series 2: Research Files, 1850-1995, undated.................................................... 325 Series 3: Administrative Files, 1964-2000, undated............................................
    [Show full text]
  • Haynes Roy E Exclusiv DB201111.Indd 1 Downbeat Roy Haynes // Pat Martino // Booker T
    EXCLUSIVE PAT MARTINO BOOK EXCERPT BOOKER T. JONES DOWNBEAT R OY HAYNES OY // All Hail… PAT MA RT INO // BOOKE R T R . J ROY ONES // CA HAYNES RL A RL LLE DRUM SCHOOL N // ◗◗ Carl Allen IMPUL SE RE ◗◗ John Hollenbeck CORDS ◗◗ Adam Rudolph 50T ◗◗ Horacee Arnold H AN H ◗◗ NIVE Vito Rezza RSARY ◗◗ Kalyan Pathak @ 50 PLUS NOVEMBER 2011 U.K. £3.50 N OVE MBER 2 011 DOWNBE AT.C O M DB201111.indd 1 9/16/11 5:30 PM DB201111.indd 2 9/16/11 5:30 PM DB201111.indd 3 9/16/11 5:30 PM NOVEMBER 2011 VOLUME 78 – NuMBER 11 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Jgiszletter 93024-0240
    P.(). BOX 240 Ojai, Calif. Jgiszletter 93024-0240 April 1990 V01. 9 NO 4 A Cheer for Roseanne Barr about song-writing. The words conspicuously do not fit, and I have used the song from time to time in lectures as a classic example of how to do everything wrong in putting a lyric to a Occasionally something happens in public affairs so funny that melody. e it offers consolation for the time we spend in this vale of tears. It is loaded with clumsy melismas, single syllables sprawled One of these is the recent dust-up over Roseanne Barr’s across two or more notes, and the stresses are all wrong. "Oh- performance of The Star-Spangled Banner. George Bush oh say," as it sinks instantly to the very bottom of the song, delivered a typical performance of his own when he described and then climbs a major triad, "can you see" -- giving you an it as a "disgrace." octave in the first six notes. Next note: "by . " Well, Is it a disgrace to mangle The Star Spangled Banner? No. there’s a tenth, folks, and we’re only in bar two. That’s allthe It’s inevitable. Everybody mangles it. It takes the prowess of range Ethel Merman ever had, and Cole Porter was able to a Jo Stafford or Leontyne Price to sing that melody. It is the produce superb melodies for her within it. Then: ("in the only national anthem I know that puts everyone who attempts twilight’s last glea-MING." The phrase comes clunking down .t at risk of strangulation, or at minimum hyper-ventilation.
    [Show full text]
  • February 1994
    Features NEIL PEART According to Peart, drumming is coming back to music with a vengeance. Rush's new album certainly supports that opinion—so what's up with the bongos? Read on, our progressive drum guru will be happy to explain.... William F. Miller 22 ROY "FUTURE MAN" WOOTEN Drums, cymbals, pedals? Mere frivolities. Drumsticks? Who needs 'em! Bela Fleck's "drummer" might not be a drummer at all. You'd never know it from the grooves, though—and we ain't talkin' drum machines, either. Robin Tolleson 28 MD SOUND SUPPLEMENT: STEVE SMITH & GARY CHAFFEE'S "SEVENTH HEAVEN" Okay, hands warmed up? Body relaxed? Brain tuned in? Get ready for a roller coaster ride sure to seriously test your drumming prowess. Robyn Flans 32 Volume 18, Number 2 Cover Photo By Andrew MacNaughton Columns EDUCATION NEWS EQUIPMENT 48 ROCK 'N' 10 UPDATE AZZ LINIC Carlos Vega, Depeche J C Mode's Alan Wilder, Songofunk: Part 2 Jamie Oldaker, and BY DAVID GARIBALDI Bobby Schayer of Bad Religion, plus News 68 DRIVER'S SEAT The Whipped Cream Roll BY ED SHAUGHNESSY 110 INDUSTRY HAPPENINGS 70 FROM THE PAST The Drums And DEPARTMENTS Drummers Of The Civil War DITOR'S 38 PRODUCT BY CHEECH IERO 4 E OVERVIEW CLOSE-UP Magstar Snare Drums 78 HEAD TALK BY RICK VAN HORN Intangibles 6 READERS' BY RON HEFNER PLATFORM 40 Sabian Larrie Londin Limited Edition 90 DRUM SOLOIST 14 ASK A PRO Ride Cymbal Steve Gadd: BY RICK VAN HORN "Conversations" 18 IT'S TRANSCRIBED BY 42 NEW AND CRAIG SCOTT QUESTIONABLE NOTABLE 96 ARTIST 44 DRUMLINE ON TRACK Roy Haynes 84 CRITIQUE BY MARK GRIFFITH PROFILES 112 DRUM MARKET 119 DRUMKIT OF 102 UP & COMING Cindy Blackman THE MONTH BY ROBYN FLANS Editor/Publisher Ronald Spagnardi On Staff At MD Associate Publisher Isabel Spagnardi Managing Editor Rick Van Horn Features Editor William F.
    [Show full text]
  • Edmonton Jazz Society 11 Tommy Banks
    ® Volume 24, Issue 5 – November /December 2006 Volume • Michele Rosewoman & Quintessence • Jerrold Dubyk Quintet • Mike Murley/David Braid Quartet with guest Tara Davidson • Wallace Roney Sextet • Jim Head Quartet featuring the Doxas Brothers • Flora Ware • The Manic Thematic Trio • Johanna Sillanpaa • Alain Caron/Francois Bourassa • Yardbird Suite Blues: Graham Guest/Raoul Bhaneja CD Release Event EDMONTON JAZZ SOCIETY 11 TOMMY BANKS WAY (Corner of 102 St & 86 Ave) EDMONTON AB T6E 2M2 Publication Mail # 40047729 membership Your Edmonton Jazz Society Membership supports a variety of activities and ensures that the best of live jazz will continue to have a home in our city. Membership Options (check one): Ì Gold Card $200 tax receipt & free admission for one year ........$450.00 9 p.m. - Midnight Ì Silver Card free admission for one year ....................................$250.00 Ì Regular ..........................................................................................$40.00 EVERY TUESDAY! Ì Student or Senior ..........................................................................$25.00 The Tuesday night jams, a longstanding traition at the Prices include GST Yardbird Suite, are an opportunity to see some of Make cheques payable and mail to: Edmonton's finest players and bands in a one hour house set Edmonton Jazz Society, 11 Tommy Banks Way, Edmonton AB T6E 2M2 before several of the city's best take the stage together in an open jam. This month's line up includes the Dan Davis group. Name ______________________________________________________________ Dan is accompanied by Jamie Cooper on drums, Tom King on piano, and Joe Lubinsky-Mast on bass. On the 14th come Address ____________________________________________________________ out and hear jam co-ordinator Don Berner's group which will feature his brother Doug on trumpet, Marc Beaudin on bass, City ________________________________________________________________ Jamie Cooper on drums and Doug Organ on piano.
    [Show full text]
  • European Jazz Personalities International Conference Bratislava April 22 – 24, 2013 Yvetta Kajanová, Lea Duffell
    EUROPEAN JAZZ PeRSONALITIES INTERNATIONAL CONFERENCE BRATISLAVA April 22 – 24, 2013 Yvetta Kajanová, Lea Duffell EUROPEAN JAZZ PeRSONALITIES INTERNATIONAL CONFERENCE BRATISLAVA April 22 – 24, 2013 Yvetta Kajanová, Lea Duffell European Jazz Personalities Conference conducted in Jazz Appreciation Month 22nd – 24th April 2013 Bratislava, Slovakia Small conference room, Hotel Družba, Botanická 25, 841 04 Karlova Ves – Bratislava Organised by Department of Musicology, Faculty of Philosophy, Comenius University, Gondova 2, 814 99 Bratislava We gratefully acknowledge the support of: the Music Centre Bratislava, the USA Embassy, the Polish Institute, the French Institute and NuSpirit Club European Jazz Personalities International Conference, Bratislava April 22 – 24, 2013 Editors: Yvetta Kajanová, Lea Duffell Translation: Lea Duffell, Katarína Godárová, Zuzana Ben Lassoued Publisher: Comenius University, Bratislava Organizing Committee: Yvetta Kajanová, Oskar Lehotský, Michal Baláž, Erik Dimitrov, Peter Motyčka Graphic design and pictures: Dušan Ondriaš Musicians on the cover: Lucia Lužinská (singer), David Hodek (drummer), Boris Čellár (guitarist) Circulation: 150 http://www.musicologica.eu/ ISBN 978-80-223-3449-5 European Jazz Personalities International Conference, Bratislava April 22 – 24, 2013 C O N T E N T S I PRogRamME 7 II ABSTRACTS 11 III GOLDen Age 39 This conference has been supported by the VEGA 1/0728/11 grant. Yvetta Kajanová, Lea Duffell European Jazz Personalities International Conference, Bratislava April 22 – 24, 2013 I P R
    [Show full text]