Jazz at Lincoln Center Orchestra with Wynton Marsalis PRESS KIT
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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Thursday, September 29, 2016, 8pm Paramount Theatre, Oakland Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis, music director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet Walter Blanding, tenor and soprano saxophones, clarinet Paul Nedzela, baritone and soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Ali Jackson, drums Tonight’s program will be announced from the stage and performed without an intermission. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. For more information, please visit jazz.org. Facebook: facebook.com/jazzatlincolncenter Twitter: twitter.com/jazzdotorg YouTube: youtube.com/jazzatlincolncenter Cal Performances' presentations in Oakland are generously underwritten by Signature Development Group. Jazz residency and education activities are generously underwritten by the Thatcher Meyerson Family. ABOUT THE ARTISTS he mission of Jazz at Lincoln Center is country, woven with the colorful stories of the to entertain, enrich, and expand a global artists behind them. Jazz Night in America and Tcommunity for jazz through perform- Jazz at Lincoln Center’s radio archive can be ance, education, and advocacy. With the found at jazz.org/radio. world-renowned Jazz at Lincoln Center Orch - Under music director Wynton Marsalis, the estra and guest artists spanning genres and JLCO spends over a third of the year on tour. generations, Jazz at Lincoln Center produces The big band performs a vast repertoire, from thousands of performance, education, and rare historic compositions to Jazz at Lincoln broadcast events each season in its home in Center-commissioned works, including com- New York City (Frederick P. -
Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene. -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado 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 Associate Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: 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 Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Fact Sheet 2009
Wynton Marsalis FACT SHEET 2009 Wynton Marsalis, is the Artistic Director of Jazz at Lincoln Center since its inception in 1987, in addition to performing as Music Director of the Jazz at Lincoln Center Orchestra since it began in 1988, has: Early Life . Born on October 18, 1961, in New Orleans, Louisiana, the second of six sons to Ellis and Dolores Marsalis . At age 8, performed traditional New Orleans music in the Fairview Baptist Church band led by legendary banjoist Danny Barker . At age 12, began studying the trumpet seriously and gained experience as a young musician in local marching, jazz and funk bands and classical youth orchestras . At age 14, was invited to perform the Haydn Trumpet Concerto with the New Orleans Philharmonic . At age 17 became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center and was awarded the school’s prestigious Harvey Shapiro Award for outstanding brass student . 1979 Entered The Juilliard School in New York City to study classical trumpet . 1979 Sat in with Art Blakey and the Jazz Messengers to pursue his true love, jazz music. 1980 Joined the band led by acclaimed master drummer Art Blakey . In the years to follow, performed with Sarah Vaughan, Dizzy Gillespie, Gerry Mulligan, John Lewis, Sweets Edison, Clark Terry, Sonny Rollins and countless other jazz legends Acclaimed Musician, Composer, Bandleader . 1982 Recording debut as a leader . 1983 Became the first and only artist to win both classical and jazz GRAMMY® Awards in one year . 1984 Won classical and jazz GRAMMY® Awards for a second year . -
Cut Enrollment Or Quality of Education
r » Krend plans Cut enrollment or new faculty evaluation quality of education By MIKE LIFTON Staff Writer Tm not for that’-Kerr In the next three weeks, stu By JOHN MAYBURY dents will have a chance to gripe Editor publically about the kind of in and struction they have been PAUL DOUGLASS getting—and get results. News Editor Jeff Krend, ex-editor of EL BERKELEY—A general atmosphere of uncertainty looms over GAUCHO, is presently involved Berkeley this week with many speculating, but no more, as to what in the intricacies of putting Governor Reagan will do next. M out a new version of the old At a luncheon Wednesday, UC President Clark K err outlined Faculty Evaluation Guide. what adjustments and cutbacks have already been implemented as The purpose of the Guide, . , a result of the prospect of a according to Krend, is twofold. substantial budget cut. First, it will provide profes Incorporation «Recruiting (of new pro sors with reactions from fessors),*’ he announced, »4s students who have taken their virtually stopped at aU cam courses. 'should wait’ puses.** With budget resources uncertain, the University is CLASS GUIDE By GARY HANAUER hand-tied to make any definite The second purpose, Krend Staff Writer offer. The University has also went on, is to allow the stu (Last part in a series) asked fo r a $12 m illion cut in dents to find out what their John Doty, rancher and farm faculty salaries, it was dis fellow students thought about er, has lived in the Goleta closed. When asked if a cut a course they want or need to. -
LIVE from LINCOLN CENTER December 31, 2002, 8:00 P.M. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert
LIVE FROM LINCOLN CENTER December 31, 2002, 8:00 p.m. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East.Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East. Celebrating the New Year with music is nothing new for Maazel: he holds the modern record for most appearances as conductor of the celebrated New Year’s Day concerts in Vienna by the Vienna Philharmonic Orchestra. There, of course, the fare is made up mostly of music by the waltzing Johann Strauss family, father and sons. For his New Year’s Eve concert with the New York Philharmonic Maazel has chosen quintessentially American music by the composer considered by many to be America’s closest equivalent to the Strausses, George Gershwin. -
GREAT BIG BANDS: Evening of Cool Brazilian Music for Orchestra and Jazz Ensemble
IN THE WINGS CCM JAZZ SERIES PRESENTS 7 p.m. Sunday, April 14 • Orchestra and Jazz Series • FANTASIA BRASILEIRA CCM Philharmonia and Jazz Orchestra Featuring guest artist Jovino Santos Neto, piano Scott Belck and Aik Khai Pung, music directors and conductors The seductive soundscape of enchanted Brazil comes to life in this GREAT BIG BANDS: evening of cool Brazilian music for orchestra and jazz ensemble. Featuring three-time Latin Grammy nominee Jovino Santos Neto, a master pianist and PAST AND PRESENT composer. Location: Patricia Corbett Theater Tickets: Purchase tickets online; $15 general, $10 non-UC students, UC students FREE. CCM JAZZ LAB BAND 8 p.m. Saturday, April 20 • Jazz Series • CCM Student Jazz Combos and Faculty Artists CRAIG BAILEY, music director Tia Fuller, guest artist Scott Belck, music director MARCUS CASH, guest conductor A well-respected bandleader and educator, Tia Fuller is a professor at the Berklee College of Music and a nationally-touring artist. She was the featured saxophone soloist in Beyoncé’s band from 2006- MAYA THREAT, guest vocalist 10, and recently released Diamond Cut, a new album that features collaborations with Terri Lyne Carrington, Jack DeJohnette and Dave Holland. Location: Corbett Auditorium Tickets: Purchase tickets online; $15 general, $10 non-UC students, UC students FREE. Thursday, March 14, 2019 Corbett Auditorium 8:00 p.m. Notice of Nondiscrimination — uc.edu/about/policies/non-discrimination ccm.uc.edu [email protected] 513-556-4183 CCM Jazz Lab Band Craig Bailey, music director PROGRAM Saxophone Trombone Wenbo Yin, lead alto Jacob Long To be selected from: Alex Belkin, alto Jonathan Newman John Lee Sullivan, tenor Nolan Manigold Quintessence Quincy Jones Colton Thomas, tenor Zachary Granger (b. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
Water-Saving Ideas Rejected at Meeting
THE TWEED SHIRE Volume 2 #15 Thursday, December 10, 2009 Advertising and news enquiries: Phone: (02) 6672 2280 Our new Fax: (02) 6672 4933 property guide [email protected] starts on page 19 [email protected] www.tweedecho.com.au LOCAL & INDEPENDENT Water-saving ideas Restored biplane gets the thumbs up rejected at meeting Luis Feliu years has resulted in new or modified developments having rainwater tanks Water-saving options for Tweed resi- to a maximum of 3,000 litres but re- dents such as rainwater tanks, recy- stricted to three uses: washing, toilet cling, composting toilets as well as flushing and external use. Rainwater population caps were suggested and tanks were not permitted in urban rejected at a public meeting on Mon- areas to be used for drinking water day night which looked at Tweed Some residents interjected, saying Shire Council’s plan to increase the that was ‘absurd’ and asked ‘why not?’ shire’s water supply. while others said 3,000 litres was too Around 80 people attended the small. meeting at Uki Hall, called by the Mr Burnham said council’s water Caldera Environment Centre and af- demand management strategy had fected residents from Byrrill Creek identified that 5,000-litre rainwater concerned about the proposal to dam tanks produced a significant decrease their creek, one of four options under in overall demand but council had no discussion to increase the shire’s water power to enforce their use. supply. The other options are rais- Reuse not explored Nick Challinor, left, and Steve Searle guide the Tiger -
Celebrating Diversity
Celebrating Diversity - Overcoming Adversity part 2: Marcus Roberts by Valerie Etienne- Leveille Marcus Roberts, 1963 – present: Musician, composer, arranger Marcus Roberts was born on August 7th, 1963 in Jacksonville, Florida. He grew up listening to his mother’s gospel singing and the music of the local church. These exposures to music had a lasting impact on his musical style. Marcus began teaching himself to play the piano at the age of five after losing his sight due to glaucoma (1)(2). At the age of ten in 1973, Marcus entered the Florida School for the Deaf and Blind (FSDB). Marcus did not receive formal piano lessons until he was 12 but he progressed very quickly through hard work and good teachers (2). In the 10th grade, he was mainstreamed in the local St. Augustine high school in the morning, and he went to FSDB in the afternoon for music (3). After graduating from FSDB, Marcus went on to study classical piano at the Florida State University (FSU) with Leonidas Lipovetsky (2). Marcus has won many awards and competitions over the years, but the one that is most personally meaningful to him is the Helen Keller Award for Personal Achievement. Marcus Roberts is known for his ability to blend the jazz and classical idioms, which focus on specific technical features, to create something new. He is also well-known for his development of an entirely new approach to jazz trio performance (2). His recordings reflect his artistic versatility and include pieces such as solo piano, duets, trio arrangements of jazz standards, large ensembles, and symphony orchestra (3). -
Andy Higgins, BA
Andy Higgins, B.A. (Hons), M.A. (Hons) Music, Politics and Liquid Modernity How Rock-Stars became politicians and why Politicians became Rock-Stars Thesis submitted for the degree of Ph.D. in Politics and International Relations The Department of Politics, Philosophy and Religion University of Lancaster September 2010 Declaration I certify that this thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere 1 ProQuest Number: 11003507 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003507 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract As popular music eclipsed Hollywood as the most powerful mode of seduction of Western youth, rock-stars erupted through the counter-culture as potent political figures. Following its sensational arrival, the politics of popular musical culture has however moved from the shared experience of protest movements and picket lines and to an individualised and celebrified consumerist experience. As a consequence what emerged, as a controversial and subversive phenomenon, has been de-fanged and transformed into a mechanism of establishment support.