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A Peter White Christmas with Rick Braun and Mindi Abair Brings the Sounds of the Season to Parker Playhouse
November 20, 2015 Media Contact: Savannah Whaley Pierson Grant Public Relations 954-776-1999 ext. 225 Jan Goodheart, Broward Center 954-765-5814 A PETER WHITE CHRISTMAS WITH RICK BRAUN AND MINDI ABAIR BRINGS THE SOUNDS OF THE SEASON TO PARKER PLAYHOUSE FORT LAUDERDALE – Celebrate the holidays with A Peter White Christmas with Rick Braun and Mindi Abair at Parker Playhouse on Saturday, December 12 at 8 p.m. One of the most versatile and prolific acoustic guitarists, White leads the contemporary jazz lineup in this seasonal concert combining smooth jazz cheer with traditional Christmas classics such as “White Christmas” and “Silent Night,” plus a few surprises along the way. White launched his career as a keyboardist touring with Al Stewart and worked with him in the studio on the classic album Year of the Cat. The tour and that album marked the beginning of a 20-year association with Stewart. During that time, the two musicians co-wrote numerous songs, including Stewart’s 1978 hit, “Time Passages.” After years as a backup musician and a session player, White launched his solo recording career and his annual Christmas tour is fueled by the success of his two highly regarded holiday albums, Songs of the Season (1997) and A Peter White Christmas (2007). Braun adds his stylistically eclectic trumpeting to the mix. A consistent chart-topper who has amassed a catalogue of #1 Billboard Contemporary Jazz Chart and radio hits throughout his solo career, Braun has also produced #1 hits for David Benoit, Marc Antoine and former Rod Stewart band sidekick Jeff Golub. -
Sponsorships
An event benefitting the AP World Organization th SEPTEMBER 11 , 2021 PerformingBOB JAMES Artists PIECES OF A DREAM GERALD ALBRIGHT JAZZ FUNK SOUL MARION MEADOWS ALEX BUGNON JEFF BRADSHAW AND FRIENDS 114 S. New York Avenue, Atlantic City, New Jersey AP WORLD An 501c-3, tax deductible organization built on the legacy of a beloved son, doing our part to strengthen families and inspire communities during difficult times. Professional basketball player, DeAndre’ Bembry of the Toronto Raptors, launched AP World in memory of his brother, Adrian Potts. Adrian celebrated his brothers’ accomplishments and planned to be sitting alongside DeAndre’ to watch the NBA draft on June 23, 2016. Adrian helped plan the draft party with their mother, Essence. Essence dedicated her life to helping her sons achieve success and was devastated when she received the dreaded phone call no parent ever wants to hear. In the early morning of June 11, 2016 literally days before the much-anticipated draft, Essence received the tragic news from Adrian’s father. Her 20-year-old, ambitious, fun-loving and tenacious son, was shot and killed near the University of North Carolina, Charlotte campus. This tragedy had a shocking and paralyzing effect on the Bembry family. Knowing where to find support and assistance while planning a funeral service, dealing with unimaginable grief and the reality of life without a son, brother and best friend, were overwhelming for Essence and DeAndre’. This family tragedy served as the catalyst for DeAndre’ to develop a support system that could be an anchor and a resource hub for other families who may have to take a similar journey through grief. -
Sanibel's Finances to Be Scrutinized No Bias Found in Assessment Process
INDEX Arts & Leisure 5B happening around the islands At Large 5A Bridae 4C Business ?B Classifieds 5C Commentary 1C Crossword 5C Sanibel Seniors Election results Environment 1B Permits 5C Islanders enjoy Sanibel, Captiva Police Beat 2A Scuba Scoop 4A activities of special voters mark Weather Watch 4A community program primary ballots 10B Since 1961 Still first on Sanibel and Captiva VOL. 31, NO. 36 TUESDAY, SEPT. 8, 1992 THREE SECTIONS, 32 PAGES 50 CENTS Sanibel's finances to be scrutinized By Frances Adams Islander staff writer The city of Sanibel's moolah - major and minor -- will be figuratively "out on the table" this coming Saturday, Sept. 12. That's when the five city councilmen, with the help of the city staff and residents, will decide how much to spend and where it will be spent, or vice versa. Unlike personal budgets, wherein there's a set amount to spend and the basic decisions to make are how to spend -it, -governmental budgets have more variables in revenues and expenditures - and how many services or "things" are needed or wanted usually dictates how much will be spent. The big questions to be answered this Saturday are: How much will Sanibel taxpayers have to shell out this year? And, for what? According to the proposed budget document for 1992- 93, if spending remains about the same as last year, is- landers will have to dig a little deeper in their pockets. Ad valorem (property) taxes are proposed to be increas- ing 23.57 percent above the rolled-back rate, basically be- cause of the general state of the economy: a reduction in the available beginning fund balance because of revenue Photo by PAUL COTE shortfalls in fiscal year 1991-92 caused by economic fac- A hazy day on Sanibel tors; and the expectation of reduced revenues from sales tax, gas tax, state revenue sharing and cigarette tax in fis- The islands aren't always perfectly bright and sunny, as this picture attests. -
Beyond Classical
About the director, dean taba A highly regarded studio and freelance musician, Dean Taba began his musical studies on the piano at the age of 6 and played french horn in the Hawaii Youth Symphony. It was a desire to play in the high school jazz band that introduced him to the bass and improvised music. After extensive studies at the Berklee College of Music in Boston and a refinement of his skills on both the acoustic and electric bass, Dean relocated in 1984 to Los Angeles to HYS JAZZ become one of its most in demand musicians. Also a respected clinician and educator (Los Angeles Beyond Classical Music Academy, Musician’s Institute, Cal-Poly Pomona, Grove School of Music) Dean has recently performed/ recorded with Jeff Lorber, David Benoit, Mark Murphy, Jake Shimabukuo, Andy Summers, Sadao Watanabe, The San Francisco Symphony, Hiroshima, Rick Braun, The American Jazz Institute Orchestra, Dave Koz, Jeff Richman, Pauline Wilson, The Philippine Philharmonic Orchestra, Daniel Ho, Bill Watrous, and many others as well as playing on countless CDs, TV shows, and movie soundtracks. Take your passion and drive for music Learn more about HYS to the next level! HiYouthSymphony.org @HiYouthSymphony Hawaii Youth Symphony Open 1110 University Ave. #200 to all Honolulu, HI 96826-1598 (808) 941-9706 Students ages 14 - 18 (Grades 9 - 12) apply today! who play guitar, bass, While no prior jazz or improvisational experience is necessary, keyboards, piano, drums, admission to The Combo is by audition only. Up to 2 students sax, trumpet, trombone. of each instrument will be selected. -
(Sound Off Live 2013 Winner) Indie Soul Meets Jazzy Blues
Artscape Entertainment Resource Guide 2013 Band Name Genre Website Email Phone Number Allie & The Cats (Sound Off Live 2013 Winner) Indie Soul meets Jazzy Blues http://www.alliemariemusic.com [email protected] 4109916973 Balti Mare Balkan Gypsy Brass http://www.facebook.com/baltimare [email protected] 4109633799 Basement Instinct (Sound Off Live 2013 Winner) Alternative Rock https://www.facebook.com/basementinstinctband [email protected] 4437038941 Bearstronaut pop http://bearstronaut.com [email protected] 8609124857 Big Sur Alternative Melodic Rock http://www.bigsurrock.com [email protected] 3015931778 Billy Wilkins Jazz/Rock https://soundcloud.com/billy-wilkins-1 [email protected] 4103696360 Blizz Hip Hop http://www.hulkshare.com/Blizz [email protected] 4439860731 Boozey R&B and Hip Hop http://Boozeyonline.com [email protected] Braunsy Brooks & Worship Kulture Christian http://www.bbworshipkulture.com [email protected] 8284554010 Brittanie Thomas Music Soul/R&B http://www.brittaniethomas.com [email protected] 4433608985 Brothers Kardell Experimental electronic pop metal hip-hop http://www.soundcloud.com/brotherskardell [email protected] 2022862623 Buddah Bass Hip-Hop/Pop http://Buddahbass.bandcamp.com [email protected] 3365779559 Bumpin Uglies Reggae/Ska http://www.bumpinugliesmusic.com [email protected] 4102793613 Children of a Vivid Eden Alternative rock http://www.facebook.com/c.o.v.e.rock [email protected] 4436324130 Chris Reynolds and -
Kenny G Bio 2018
A phenomenally successful instrumentalist whose recordings routinely made the pop, R&B, and jazz charts during the 1980s and ’90s, Kenny G‘s sound became a staple on adult contemporary and smooth jazz radio stations. He’s a fine player with an attractive sound (influenced a bit by Grover Washington, Jr.) who often caresses melodies, putting a lot of emotion into his solos. Because he does not improvise much (sticking mostly to predictable melody statements), his music largely falls outside of jazz. However, because he is listed at the top of “contemporary jazz” charts and is identified with jazz in the minds of the mass public, he is classified as jazz. Kenny Gorelick started playing professionally with Barry White‘s Love Unlimited Orchestra in 1976. He recorded with Cold, Bold & Together (a Seattle-based funk group) and freelanced locally. After graduating from the University of Washington, Kenny G worked with Jeff Lorber Fusion, making two albums with the group. Soon he was signed to Arista, recording his debut as a leader in 1982. His fourth album, Duotones(which included the very popular “Songbird”), made him into a star. Soon he was in demand for guest appearances on recordings of such famous singers as Aretha Franklin, Whitney Houston, and Natalie Cole. Kenny G’s own records have sold remarkably well, particularly Breathless, which has easily topped eight million copies in the U.S.; his total album sales top 30 million copies. The holiday album Miracles, released in 1994, and 1996’s Moment continued the momentum of his massive commercial success. He also recorded his own version of the Celine Dion/Titanic smash “My Heart Will Go On” in 1998, but the following year he released Classics in the Key of G, a collection of jazz standards like “‘Round Midnight” and “Body and Soul,” possibly to reclaim some jazz credibility. -
Earnest Walker Jr
EARNEST WALKER JR. Smooth Groove Artist Earnest Walker Jr. spent the first 15 years of his life traveling the country with his family. The experience taught him an appreciation of different cultures and musical styles. At the age of nine, Walker started playing the guitar, but a year later he picked up the saxophone and it has been his passion ever since. When he was only 14 years old, the established musicians in Pensacola, Florida felt his playing was so essential they would sneak Walker into night clubs to showcase his talents. Walker studied music education at Bethune-Cookman College in Daytona Beach, and later attended Florida State University, quickly establishing himself as one of the most sought-after saxophonists on both campuses and all around the state of Florida. After college, Walker joined the Air Force, where he performed with different groups in each town he was stationed. After the military, Walker toured and performed in most of the central to eastern portions of the country, including Miami, Daytona Beach, Charleston SC, Philadelphia, New Orleans, Atlanta, Tampa, Orlando and Denver. In the late 90’s, he moved to Philadelphia and became a member of the prestigious smooth jazz band “Blind Date”. Returning to Miami in 2003, Earnest Walker Jr is well known in the city of South Beach as a show stopper that is sure to leave the audience breathless. Location: Miami, FL USA Influences: Grover Washington Jr, Cannonball Adderly, Maceo Parker, Earth Wind & Fire, Gerald Albright, Ronnie Laws Booking & Media Contact: HJ Entertainment | 816.945.0288 | www.EarnestWalkerJr.com ON STAGE As solid, compelling and in the pocket as Walker is on disc, he’s best known in the jazz world as a powerhouse performer whose stage presence and creative style guarantees that every crowd is in an uproar. -
Firing the Canon: Multiple Insularities in Jazz Criticism
FIRING THE CANON: MULTIPLE INSULARITIES IN JAZZ CRITICISM By © 2014 Christopher Robinson Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie Tucker ________________________________ Randal Jelks ________________________________ Tony Bolden ________________________________ John Gennari ________________________________ William J Harris Date Defended: April 7, 2014 The Dissertation Committee for Christopher Robinson certifies that this is the approved version of the following dissertation: Firing the Canon: Multiple Insularities in Jazz Criticism ________________________________ Chairperson, Sherrie Tucker Date approved: April 7, 2014 ii ABSTRACT Whereas many jazz scholars focus on jazz criticism's construction and implications of a single, or insular, jazz canon, this dissertation argues that what many jazz critics do is precisely the opposite. These critics disrupt the sense of a singular and insular jazz canon by challenging it through the creation of what I call an insularity, which is a bounded collection of artists and music with a definable tradition, values and established criteria which regulates what is suitable for inclusion. This dissertation argues that jazz does not consist of a single canon and music that exists beyond the canon's boundaries; rather, jazz contains multiple insularities that challenge the canon and vie for the opportunity to overthrow the canon in order to reach canonical status. This dissertation conceptualizes jazz critics as cultural authorities who create or deconstruct insularities through a variety of race, gender and nation projects. It examines the criticism of Leonard Feather, Val Wilmer and Nathaniel Mackey to highlight the numerous ways in which critics engage with multiple insularities. -
Jazzweek Smooth Album Chart Feb
airplay data JazzWeek Smooth Album Chart Feb. 6, 2012 powered by TW LW 2W Peak Artist Title Label TW LW +/- Weeks Reports Adds 1 2 2 1 Fourplay Let’s Touch The Sky Heads Up 34 34 0 68 3 0 2 3 21 2 George Benson Guitar Man Concord Jazz 31 30 1 18 4 0 2 3 3 1 Acoustic Alchemy Roseland Heads Up 31 30 1 21 4 0 4 5 16 4 Richard Elliot In The Zone Artistry/Mack Avenue 30 28 2 22 3 0 4 1 1 1 Boney James Contact Verve Forecast 30 35 -5 48 3 0 6 5 3 3 Paul Taylor Prime Time eOne/Peak 29 28 1 41 3 0 7 18 7 2 Paul Hardcastle Hardcastle VI Trippin ’N’ Rhythm 25 17 8 33 4 0 7 9 7 1 Brian Lenair Eye Of The Storm Grits And Gravy 25 22 3 22 2 0 9 7 5 4 Rick Braun Sings With Strings Artistry/Mack Avenue 22 26 -4 30 2 0 10 28 33 10 Roberta Flack Let It Be Roberta 429 21 14 7 3 2 0 10 10 10 10 Bob Baldwin NewUrbanJazz.com 2/Re-Vibe Trippin ’N’ Rhythm 21 21 0 30 2 0 12 15 21 12 Wayman Tisdale The Wayman Tisdale Story Rendezvous 19 18 1 15 3 0 12 51 48 9 Terri Lyne Carrington The Mosaic Project Concord 19 9 10 31 5 0 14 34 48 14 Jim Peterik’s Lifeforce Forces At Play SMC 18 12 6 23 1 0 14 15 16 14 Andy Snitzer Traveler Native Language 18 18 0 25 1 0 14 28 – 14 Shilts Going Underground Blanket 18 14 4 51 1 0 17 18 16 12 Kim Waters This Heart Of Mine Shanachie 17 17 0 17 1 0 17 15 12 12 Louie Cruz Beltran Paint The Rhythm Corniche 17 18 -1 14 1 0 17 25 – 17 Misz Lovin’ What I Do (Musical Perspectives) Solid Groove 17 16 1 2 1 0 17 18 28 3 The Rippingtons Cote D’Azur Peak 17 17 0 56 1 0 21 25 12 8 Terry Wollman Buddha’s Ear Ollie Llama Music 16 16 0 20 1 0 21 18 12 15 Quintin Gerard W. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
Omer Avital Ed Palermo René Urtreger Michael Brecker
JANUARY 2015—ISSUE 153 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM special feature BEST 2014OF ICP ORCHESTRA not clowning around OMER ED RENÉ MICHAEL AVITAL PALERMO URTREGER BRECKER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 116 Pinehurst Avenue, Ste. J41 JANUARY 2015—ISSUE 153 New York, NY 10033 United States New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : Omer Avital by brian charette Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : Ed Palermo 7 by ken dryden [email protected] Advertising: On The Cover : ICP Orchestra 8 by clifford allen [email protected] Editorial: [email protected] Encore : René Urtreger 10 by ken waxman Calendar: [email protected] Lest We Forget : Michael Brecker 10 by alex henderson VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : Smoke Sessions 11 by marcia hillman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Special Feature: Best Of 2014 28 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Miscellany Terrell Holmes, Robert Iannapollo, 43 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, Event Calendar 44 Sean J. O’Connell, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman As a society, we are obsessed with the notion of “Best”. -
MUS-105 History of Jazz in America
Departmental Policy Syllabus Revised, 5/15/18 Bergen Community College Division of Business, Social Sciences, and Performing Arts Department of Performing Arts Course Syllabus MUS-105: A History of Jazz in America Basic Information about Course and Instructor Semester and year: Course and Section Number: Meeting Times and Locations: Instructor: Office Location: Phone: Departmental Secretary: [optional] Office Hours: Email Address: Course Description MUS-105 A History of Jazz in America is a study of the historical development of jazz from its origin as a form of Black American folk music to its acceptance as a major expression of American art. 3 lectures, 3 credits Student Learning Objectives: As a result of meeting the requirements in this course, students will be able to: 1. Articulate a critical perspective on the social, cultural, political and economic forces that led to the development of jazz in America during the 20th century; 2. Distinguish between the musical characteristics that differentiate the various styles of jazz, such as ragtime, traditional (Dixieland), stride piano, swing, bebop, post bop, cool jazz, west coast jazz, free jazz, jazz-rock fusion, acid jazz, smooth jazz, and post-modern jazz; 3. Explain how race, class, gender, and ethnicity along with the social, economic, and legal practices such as segregation, the New Deal, played a role the evolution of jazz; 4. Demonstrate knowledge of selected significant jazz innovators and soloists, such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis, and John Coltrane; 5. Employ the basic vocabulary used to describe musical elements, such as melody, rhythm, harmony, form, and tone color, in written and oral communication; 6.