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6Uuruqronrn Puus
- '-l^AL ..{a t-2, -l t,r',. -- 7/ '-r-tt \91,- Our Twenty-sixthSeason Our One Hundred Sixty-sixth Program 2004-2005 6uuruqroNrnPuus: (ur,tv[0000s, gng${ ilnrrrnrt Monrerco, v00AL6 A99l$'t6D8t: (o+txlhcarsoN. prANoLes ltnesrs. (e..oeuus TtcepuoQur,reuuter q Oc.Oue ut ecz,t,f?ul,rp€f{ fuuqeu+{o?N Sponsored by the Department of Music and the New Hampshire Library of Traditional Jazz 8 p.m. Monday, October 25,2004 JohnsonTheatre, Paul CreativeArts Center,Durham, NH TIIE ARTISTS Jirnmy Woode, Shawnn Monteiro, and Clark Terry In our personal lives certain evens tend to stand out and take on legendary or ml,thic status within our families. This is likewise true ofjazz as a living organism, and because of the nature of the beast, the mystique of these special occurrences is best spread via recordings, by design or otherwise. Orc might think of the first cuts by the Original Dixieland Jazz Band, I-ouis Armshoug's llot Five sessions,Benny Goodman's 1938 Carnegie Hall concert, and the Miles Davis Krnd o/Blue sessions;the participants may even come to seem larger than life, and the opportunity for any of us to encounter them unlikely if not inpossible. Certainly Duke Ellington's long career generated many such singular happenings, and one of the most memorable took place early in July of 1956 at the Newport Jazz Festival, when the band, then thought by some to be at a low point, electrified the audience during a near-midnight appearance, most especially with a rendition of Dirzrzuendo and Crescmdo in BluepunctuateAby a 27-chorus "interlude" by Paul Gonsalves, and galvanized by Jimmy Woode's bass. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
Wallace Roney Joe Fiedler Christopher
feBrUARY 2019—ISSUe 202 YOUr FREE GUide TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BILLY HART ENCHANCING wallace joe christopher eddie roney fiedler hollyday costa Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East feBrUARY 2019—ISSUe 202 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : wallace roney 6 by anders griffen [email protected] Andrey Henkin: artist featUre : joe fiedler 7 by steven loewy [email protected] General Inquiries: on the cover : Billy hart 8 by jim motavalli [email protected] Advertising: encore : christopher hollyday 10 by robert bush [email protected] Calendar: lest we forGet : eddie costa 10 by mark keresman [email protected] VOXNews: LAbel spotliGht : astral spirits 11 by george grella [email protected] VOXNEWS by suzanne lorge 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 oBitUaries 12 by andrey henkin money order to the address above or email [email protected] FESTIVAL REPORT 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, CD reviews 14 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Miscellany Tom Greenland, George Grella, 31 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, event calendar Matthew Kassel, Mark Keresman, 32 Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Brian Charette, Steven Loewy, As unpredictable as the flow of a jazz improvisation is the path that musicians ‘take’ (the verb Francesco Martinelli, Annie Murnighan, implies agency, which is sometimes not the case) during the course of a career. -
View Was Provided by the National Endowment for the Arts
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOOTS THIELEMANS NEA Jazz Master (2009) Interviewee: Toots Thielemans (April 29, 1922 – August 22, 2016) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: August 31 and September 1, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 80 pp. Brown: Today is August 31, 2011. My name is Anthony Brown, and I am conducting the Smithsonian Institution Oral History with NEA Jazz Master, harmonica virtuoso, guitarist and whistler, Toots Thielemans. Hello… Thielemans: Yes, my real name is Jean. Brown: Jean. Thielemans: And in Belgium… I was born in Belgium. Jean-Baptiste Frédéric Isidor. Four first names. And then Thielemans. Brown: That’s funny. Thielemans: And in French-speaking Belgium, they will pronounce it Thielemans. But I was born April 29, 1922. Brown: That’s Duke Ellington’s birthday, as well. Thielemans: Yes. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: All right. Thielemans: Yes, same day. Brown: Yeah, same day. Just a few years later. [laughs] Thielemans: [laughs] Oh, Duke. Okay. Brown: Where in Belgium? What city? Thielemans: In Brussels. Brown: That’s the capitol. Thielemans: In a popular neighborhood of Brussels called Les Marolles. There was… I don’t know, I wouldn’t know which neighborhood to equivalent in New York. Would that be Lower East Side? Or whatever… popular. And my folks, my father and mother, were operating, so to speak, a little beer café—no alcohol but beer, and different beers—in this café on High Street, Rue Haute, on the Marolles. -
Vor 80 Jahren Spielte Benny Goodman Ein Legendäres Konzert
Band 6, Ausgabe 1 März 2018 Swing is the Thing! - Mitteilungsblatt aus Leipzig für Freunde swingender Musik in aller Welt Vor 80 Jahren spielte Benny Goodman ein legendäres Konzert in der Carnegie Hall S e i t e 2 Just For Swing GazetTE Liebe Jazzfreunde, INHALT Diese Ausgabe war fast fertig, da erfuhren wir vom Ableben unseres Freundes Coco Vor 80. Jahren spielte Benny Schumann. Wir haben uns deswegen ent- Goodman das legendäre schlossen, diese Ausgabe um mehrere Sei- ten zu erweitern und einen Sonderteil hin- Carnegie Hall Konzert zuzufügen, mit dem wir unseren Freund EDITORIAL von Freddy Schauwecker würdigen möchten. Der Verlust wiegt schwer, denn Coco war für uns nicht nur Arnett Cobb—zum 100. Ge- ein außergewöhnlicher Mensch und Musi- burtstag des „wild man on ker oder wie sein Saxophonist Kalle Böhm, tenor sax“ der mit ihm über 50 Jahre eng befreundet von Detlef A. Ott war, sagte: ein SYMPATH. Er war uns viele Jahre immer auch ein großartiger Peter Glessing—a Tribute to Freund und Vertrauter, der uns in vieler- Arnett Cobb lei Hinsicht das Leben unter anderem von Detlef A. Ott Blickwinkel betrachten ließ. Über seine herzlichen Begegnungen mit uns Leipzi- Die Ostberliner Dixie Szene gern sagte er einmal: „Ick bin in meinem Teil 1 Leben vielen Leuten begegnet. In Leipzig von Rolf Wachowius, Berlin habe ick Menschen kennengelernt.“ Wir werden das immer in unseren Herzen Jazztitel und ihre Geheimnisse tragen, lieber Coco. Du bist unvergessen! Teil 10 von Gerhard Klußmeier Als Titelblatt bilden wir zukünftig berühmte dass wir die „Opa Hirchleitner Story“ wieder Spielstätten des Jazz ab. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Francy Boland & the Orchestra 3. White Heat Mp3
Francy Boland & The Orchestra 3. White Heat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 3. White Heat Country: Netherlands Released: 1978 Style: Contemporary Jazz, Big Band MP3 version RAR size: 1442 mb FLAC version RAR size: 1561 mb WMA version RAR size: 1322 mb Rating: 4.4 Votes: 113 Other Formats: AC3 XM AIFF MP1 DTS TTA MPC Tracklist A1 Daffodils 5:22 A2 Everything I Have Is Yours 9:13 A3 As Long As There Is Music 4:38 B1 Nargileh 6:24 B2 East Of The Sun 6:58 B3 A Gal In Calico 5:29 Companies, etc. Manufactured By – EMI Records Holland B.V. Distributed By – EMI Records Holland B.V. Licensed From – MPS Records GmbH Recorded At – Cornet Studio Published By – Edition Cawoo Published By – Stratford Music Published By – Edition Swington Published By – Francis, Day & Hunter Published By – Remich Published By – Neue Welt Musikverlag Published By – Chappell Credits Alto Saxophone, Clarinet, Soprano Saxophone, Tenor Saxophone – Tony Coe Arranged By – Francy Boland Artwork, Design, Photography By – Heinz Bähr Baritone Saxophone, Flute, Soprano Saxophone – Sahib Shihab Bass – Ron Mathewson Conductor, Piano, Mellophone – Francy Boland Coordinator – Adi Stammel, Nora Campi-Pavlovic, Rolf Braza Drums – Kenny Clare Flute, Clarinet – Heinz Kretschmar, Kurt Aderholt* French Horn – Christoph Brandt - Lindbaum, Heinrich Alfing, Konrad Alfing, Peter Ludes, Tom Baken Photography By – Bobby Richards Producer, Supervised By – Gigi Campi Recorded By – Wolfgang Hirschmann Supervised By – Willi Fruth Tenor Saxophone – Ronnie Scott Tenor Saxophone, -
WDR 3 Jazz & World, 27.Sept. 2016
WDR 3 Jazz & World, 27.Sept. 2016 Konzerte des Edelhagen Orchesters – Battle Of The Big Bands 22:04-24:00 Stand: 26.09.2016 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de Moderation: Thomas Mau Redaktion: Bernd Hoffmann Laufplan 1. Griff’s groove K: Francy Boland KENNY CLARKE / FRANCY BOLAND BIG BAND WDR 6072 028 101 CD: Kurt Edelhagen und sein Orchester 9:05 2. Box 703 K: Francy Boland KENNY CLARKE / FRANCY BOLAND BIG BAND WDR 6051 097 101 CD: Kurt Edelhagen und sein Orchester 12:17 3. Sax no end K: Francy Boland wie Titel 2 4. Gemini Samba K: Tony Inzalaco ORCHESTER KURT EDELHAGEN WDR 6051 097 102 CD: Kurt Edelhagen und sein Orchester 10:00 5. The water is wide K: traditional ORCHESTER KURT EDELHAGEN WDR 6072 028 103 CD: Kurt Edelhagen und sein Orchester 8:56 6. Central Park North K: Thad Jones THAD JONES / MEL LEWIS BIG BAND WDR 6051 097 102 CD: Kurt Edelhagen und sein Orchester 13:13 7. Little Pixie K: Thad Jones wie Titel 6 20:32 8. Willow weep for me K: Ann Ronell wie Titel 6 6:55 9. Lonely woman K: Ornette Coleman ORCHESTER KURT EDELHAGEN WDR 6072 028 104 CD: Kurt Edelhagen und sein Orchester 7:37 Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 27.Sept. 2016 Konzerte des Edelhagen Orchesters – Battle Of The Big Bands 22:04-24:00 Stand: 26.09.2016 E-Mail: [email protected] WDR JazzRadio: http://jazz.wdr.de 10. -
The Finest in Belgian Jazz (FR)
THE FINEST IN BELGIAN JAZZ Jempi Samyn & Sim Simons Colophon Auteurs : Jempi Samyn & Sim Simons Traduction française : Philippe Schoonbrood (portraits) et Alias Languages Sprl (historique du jazz belge) Photographie : Jan Vernieuwe, Jacky Lepage, Jos Knaepen Design : Folio, Marijke Deweerdt Imprimerie : Walleyn graphics Brugge Depot légal : D/2002/9668/3 ISBN 90-807 378-3-6 Photos : Archives De Werf Collection Robert Pernet Jos Knaepen Jacky Lepage Jan Vernieuwe VRT Le livre ‘The Finest in Belgian Jazz’ est une publication de : © De Werf, 2002, Brugge Werfstraat 108, 8000 Brugge Tel. +32 50-33 05 29 e-mail : [email protected] Une initiative du Werf dans le cadre de Brugge 2002, Capitale culturelle de l’Europe Avec la collaboration de : Brugge 2002, Capitale culturelle de l’Europe - Het Muziekcentrum Vlaanderen - Wallonie-Bruxelles Musiques Tous droits de réproduction, y compris par la photocopie, de traduction; et d’adaptation, réservés pour tous pays. Contenu Préface 5 Toots Thielemans 6 Historique du jazz belge 15 Introduction 16 Précisions 17 Little Belgium ? 18 L’amateur 20 Clubs et opportunités 21 Les médias 22 Aujourd’hui 24 Les cédés 24 La suite… 25 La décennie (élargie) 26 Le Django d’Or 27 Projets 28 Une haute conjoncture qui repose sur du solide 29 Les origines 30 La préhistoire : ménestrel, ragtime et John-Philip Sousa 30 ‘Europe’ et le jazz arrive en Europe 32 Louis Mitchell, Félix Faecq et Robert Goffin 32 Entre-temps… 33 Le swing et les big-bands 35 Stan Brenders 35 Fud Candrix 35 Jean Omer 36 Quelques autres musiciensi 36 Les -
A Contextual Study of the Art of Three Pittsburgh Jazz Drummers
CORE Metadata, citation and similar papers at core.ac.uk Provided by D-Scholarship@Pitt THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS by Kenan A. Foley Bachelor of Music, Southern University and A & M College, 1984 Master of Arts, Binghamton University, 1995 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH Faculty of Arts and Sciences This dissertation was presented by Kenan A. Foley It was defended on April 23, 2007 and approved by Dr. Nathan T. Davis, Professor of Music, Dissertation Advisor J. H. Kwabena Nketia, Andrew W. Mellon Professor Emeritus of Music Dr. Akin Euba, Andrew W. Mellon Professor of Music Dr. Mathew Rosenblum, Professor of Music ii Copyright © by Kenan Foley 2007 iii THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS Kenan A. Foley, PhD University of Pittsburgh, 2007 This dissertation presents an ethnomusicological study of the art of three Pittsburgh jazz drummers, Joe Harris, Ron Tucker, and Roger Humphries with particular reference to the nexus relations between performance practice and the interpretation of experience. Following the work of Davis, Nketia and others this study argues for an approach to the analysis of black music which takes into consideration the viewpoints of the musicians who produce the music as well as those of the community who participate at performance events. Accordingly it examines the art of these drummers not only in terms of sound and structure but also in respect of the cultural factors that govern the operation of style and the meaning systems behind the music. -
Suggested Listening - Jazz Artists 1
SUGGESTED LISTENING - JAZZ ARTISTS 1. TRUMPET - Nat Adderley, Louis Armstrong, Chet Baker, Terrance Blanchard, Lester, Bowie, Randy Brecker, Clifford Brown, Don Cherry, Buck Clayton, Johnny Coles, Miles Davis, Kevin Dean, Kenny Dorham, Dave Douglas, Harry Edison, Roy Eldridge, Art Farmer, Dizzy Gillespie, Bobby Hackett, Tim Hagans, Roy Hargrove, Phillip Harper,Tom Harrell, Eddie Henderson, Terumaso Hino, Freddie Hubbard, Ingrid Jensen, Thad Jones, Booker Little, Joe Magnarelli, John McNeil, Wynton Marsalis, John Marshall, Blue Mitchell, Lee Morgan, Fats Navarro, Nicholas Payton, Barry Ries, Wallace Roney, Jim Rotondi, Carl Saunders, Woody Shaw, Bobby Shew, John Swana, Clark Terry, Scott Wendholt, Kenny Wheeler 2. SOPRANO SAX - Sidney Bechet, Jane Ira Bloom, John Coltrane, Joe Farrell, Steve Grossman, Christine Jensen, David Liebman, Steve Lacy, Chris Potter, Wayne Shorter 3. ALTO SAX - Cannonball Adderley, Craig Bailey, Gary Bartz, Arthur Blythe, Richie Cole, Ornette Coleman, Steve Coleman, Paul Desmond, Eric Dolphy, Lou Donaldson, Paquito D’Rivera, Kenny Garrett, Herb Geller, Bunky Green, Jimmy Greene, Antonio Hart, John Jenkins, Christine Jensen, Eric Kloss, Lee Konitz, Charlie Mariano, Jackie McLean, Roscoe Mitchell, Frank Morgan, Lanny Morgan, Lennie Niehaus, Greg Osby, Charlie Parker, Art Pepper, Bud Shank, Steve Slagel, Jim Snidero, James Spaulding, Sonny Stitt, Bobby Watson, Steve Wilson, Phil Woods, John Zorn 4. TENOR SAX - George Adams, Eric Alexander, Gene Ammons, Bob Berg, Jerry Bergonzi, Don Braden, Michael Brecker, Gary Campbell, -
2017-18 Georgia All-State Jazz Ensemble SUGGESTED LISTENING—JAZZ ARTISTS
2017-18 Georgia All-State Jazz Ensemble SUGGESTED LISTENING—JAZZ ARTISTS This is a list that that I’ve selected from Jamey Aebersold’s Jazz Aides 2000 list so it would fit on one page and not be so overwhelming. It is NOT THE definitive list, but you can’t go wrong focusing on any of these to imitate so you can innovate. …. Jim Warrick, Guest Director FLUTE Dave Valentine, Hubert Laws, James Moody, Herbie Mann, Frank Wess, Jeremy Steig, Roland Kirk, Yusef Lateef, David Liebman, Eric Dolphy CLARINET Benny Goodman, Artie Shaw, Buddy DeFranco, Woody Herman, Pee Wee Russell, Jimmy Guiffre, Eric Dolphy (bass clarinet), Eddie Daniels, Paquito D'Rivera, Phil Woods, Art Pepper, John Carter ALTO SAX Charlie Parker, Sonny Stitt, Lou Donaldson, Phil Woods, Cannonball Adderley, Charlie Mariano, Lee Konitz, Paul Desmond, Ornette Coleman, Roscoe Mitchell, Eric Dolphy, Herb Geller, Art Pepper, Lennie Niehaus, Bud Shank, Lanny Morgan, Richie Cole, Eric Kloss, Bunky Green, Bobby Watson, Kenny Garrett, Greg Osby, Frank Morgan, John Jenkins, Jim Snidero, Paquito D'Rivera TENOR SAX Lester Young, Walt Weiskopf, Coleman Hawkins, Stan Getz, John Coltrane, Sonny Rollins, Gene Ammons, Joe Henderson, Wayne Shorter, George Coleman, Dave Liebman, Pharoah Sanders, Ben Webster, Benny Golson, Dexter Gordon, Wayne Marsh, Zoot Sims, Hank Mobley, Sonny Stitt, Bob Berg, Joe Farrell, Mike Brecker, Bud Freeman, Von Freeman, Chico Freeman, Rick Margitza, Branford Marsalis, Larry Schneider, Bill Evans, Joe Lovano, James Moody, Joshua Redman, Illinois Jacquet, Eddie “Lockjaw”