Jazzweek with Airplay Data Powered by Jazzweek.Com • May 12, 2008 Volume 4, Number 24 • $7.95
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Karya Brian Culbertson
PERANAN HORN SECTION PADA LAGU “GET IT ON” KARYA BRIAN CULBERTSON JURNAL S1 Seni Musik Oleh: Fandry Marbun NIM. 1111771013 Program Studi Seni Musik Jurusan Musik, Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta 2016 UPT Perpustakaan ISI Yogyakarta PERANAN HORN SECTION PADA LAGU “GET IT ON” KARYA BRIAN CULBERTSON Oleh: 1 2 Fandry Marbun, Wahyudi, 1Alumni Jurusan Musik FSP ISI Yogyakarta 2Staf Pengajar Jurusan Musik FSP ISI Yogyakarta 3Staf Pengajar Jurusan Musik FSP ISI Yogyakarta Jurusan Musik, Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta [email protected] ABSTRAK Penelitian ini bertujuan untuk mengetahui peranan dan bentuk komposisi dari horn section pada salah satu karya Brian Culbertson yang berjudul “Get It On”. Penelitian ini menggunakan metode kualitatif dengan pendekatan deskrptif analisis. Hasil penelitian ini menunjukkan bahwa: (1) Peranan horn section pada lagu “Get It On” dengan genre funk cenderung bermain sebagai pengisi/filler, sesekali mengambil tema utama dan juga memainkan bagian improvisasi seperti lagu-lagu jazz pada umumnya, (2) karaketeristik permainan pengisi/filler horn section pada lagu “Get It On” ini cenderung menggunakan not-not sepredelapan, seperenambelas serta banyak bermain di bagian sinkopasi dan tutti, (3) bentuk komposisi lagu “Get It On” terdiri dari tiga bagian , dengan susunan kalimat A- B-C-A’ yang terdiri dari 181 birama : 17 birama bagian introduksi, 8 birama kalimat A, 8 birama kalimat B, 4 birama kalimat C, 8 birama kalimat A’, 7 birama transisi penghantar, 2 birama transisi modulasi, 92 birama bagian improvisasi dan 3 birama kodetta. Kata Kunci: Get It On, Horn Section, Brian Culbertson, Funk. ABSTRACT This Research aims to determine the role and form composition of horn section on one of Brian Culbertson creation entitled “Get It On”. -
FREE 24Th ANNUAL BALCONES HEIGHTS JAZZ FESTIVAL Celebrating a Diverse Line-Up of Headlining Artists All New to the Balcones Heights Jazz Festival!
FREE 24th ANNUAL BALCONES HEIGHTS JAZZ FESTIVAL Celebrating a diverse line-up of headlining artists all new to the Balcones Heights Jazz Festival! What: For over two decades, the Balcones Heights Jazz Festival has been a summer highlight captivating jazz aficionados from across Texas with a free stellar line-up of renowned jazz stars from across the country. This year’s performance features a diverse line-up of headlining and special opening acts, new to the Jazz Festival. These performers include: Los Angeles-based trumpeter Rick Braun; UK’s Smooth Jazz keyboardist Oli Silk; Grammy nominated guitarist Paul Jackson, Jr.; D.C. saxophonist Phillip “Doc” Martin; world jazz duo guitarists Strunz & Farah; national recording artist and saxophonist Chase Huna; and contemporary guitarist Steve Oliver. Locally singing sensation (and the only returning artist) MELINA will join Texas guitarist Ruben V on stage at the Wonderland of the Americas. For four consecutive Friday evenings, the festival’s laid back and family-friendly atmosphere will welcome an estimated 4,000 jazz fans, surpassing the city’s entire population of 3,000. Die-hard fans have been known to stake out their claim, with lawn chairs and blankets in tow, days in advance of the event at favorite spots along the edge of the sparking reflecting pool and fountains of the city’s main hub Wonderland of the Americas. David Munoz, host of “Sunday Morning Jazz” on Q101.9 is emcee of the festival. He’s hosted the Jazz Festival for the past 23 years and has hosted the “Sunday Morning Jazz Show” for more than 27 years. -
Newsletternewsletter March 2015
NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
Tom Braxton Press
TOM BRAXTON Career Highlights Tom was a featured headliner on the first Smooth Jazz Europe Festival in Hengelo, Netherlands, along with Bob Baldwin and Chieli Minucci. Tom was a featured performer with Keiko Matsui on her three-week tour of Russia and the Ukraine. Tom Braxton's latest CD, Endless Highway, reached #21 on the Photo by Walter Goyen Billboard Top Contemporary Jazz Album Chart. Endless Highway's singles, "That Wayman Smile" and "Open Road," have made waves on numerous jazz charts including SmoothJazz.com, Groove Jazz Music, RadioWave, Smooth Jazz Now and Capital Jazz Radio. Tom was featured on the cover of the November 2009 issue of Smooth Jazz News magazine. (www.smoothjazznews.com) Endless Highway has been ranked #1 on the Amazon.com Bestsellers List for MP3 Downloads in Smooth Jazz. Tom has been a featured performer and fan favorite on The Smooth Jazz Cruise since 2005. He ranked in the top 5 for CD sales on the 2010 cruise. Tom toured extensively with Wayman Tisdale for 17 years, serving as Musical Director for 10 of those years. Tom has shared the stage with many well-known artists including Dave Koz, Rick Braun, Peter White, Candy Dulfer, Bob James, George Duke, Kirk Whalum, Jonathan Butler, Jeff Golub, Marcus Miller, Keiko Matsui, Aretha Franklin, Luther Vandross and Philip Bailey. www.tombraxton.com TOM BRAXTON Tour Highlights Las Vegas City of Lights Jazz Festival: 94.7 The Wave Event in Los Angeles: Breast Cancer Benefit Tom with Wayman Tisdale ** Tom and Brian Culbertson (on trombone) in Sacramento ** Dave -
Depaul Jazz Students Mix It Up
The Journal of the DePaul School of Music FALL 2009 PLAY SERIOUS : DePaul Jazz Students Mix It Up THE JOURNAL OF THE DEPAUL SCHOOL OF MUSIC 1 E D PRELU Serious Play: DePaul Jazz Students Mix It Up A jazz musician is called upon to do remarkable provide real advocacy, programs in jazz things — to interpret written arrangements education can wither. Jazz is wonderfully alive which are themselves imprecise, to perform in in Chicago, though, and the program of jazz a manner that requires stylistic validity and education at DePaul remains thoroughly vibrant consistency with his or her ensemble collabora- in its energy and rather extraordinary in its tors, to demonstrate familiarity with a vast output. What, though, allows jazz to flourish repertory of classic jazz materials and recordings, here and not elsewhere? That’s the question we and to improvise — to spontaneously and seek to explore through this issue of Con Brio. concurrently create compelling music from We begin with some reflections on the quite three different sources: the harmonies, rhythms, wonderful partnership that has grown between and melodies of the piece being performed; the the DePaul jazz program and legendary jazz contributions of the other musicians performing, saxophonist Phil Woods over recent years. and the recorded performances of other jazz Through many rehearsals, recordings, and musicians at other times. For those new to the performances, the DePaul Jazz Ensemble and task, it can be more than daunting: it can be the master have developed a great respect for downright overwhelming. For those who have one another — to the benefit of jazz patrons learned to listen and appreciate jazz as a high everywhere — and meaningful collaborations art form, the experience can be euphoric. -
Top 5 Chieftains Albums
JazzWeek with airplay data powered by jazzweek.com • January 8, 2007 Volume 3, Number 7 • $7.95 World Music Q&A: The Chieftains’ PADDY MOLONEY On The Charts: #1 Jazz Album – Diana Krall #1 Smooth Album – Benson/Jarreau #1 College Jazz – Madeleine Peyroux #1 Smooth Single – George Benson #1 World Music – Lynch/Palmieri JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger anuary 10-13 marks the 2007 International Association MUSIC EDITOR Tad Hendrickson fo Jazz Education Annual Conference. Here’s a quick Jplug for the events JazzWeek is sponsoring each day CONTRIBUTING WRITER/ from 10:00 a.m. to noon: PHOTOGRAPHER Tom Mallison Thursday Workshop: Jazz Radio In Crisis: Why That’s A Good Thing PHOTOGRAPHY Barry Solof This session will focus on why some stations are disappearing or seeing big drops in audience, whie other stations with more progressiveapproaches are Contributing Editors seeing audience increases. Panelists will discuss the adoption of more youth- Keith Zimmerman oriented music, the realization that there’s a younger demographic during lat- Kent Zimmerman er hours, and the success stations programming for that audience are seeing. Founding Publisher: Tony Gasparre Panelists: Bob Rogers, Bouille & Rogers consultants; Jenny Toomey, Future of Music Coalition; Gary Vercelli, KXJZ; Linda Yohn, WEMU; Rafi Za- ADVERTISING: Devon Murphy bor. Location: Riverside Ballroom, Sheraon 3rd Fl. Call (866) 453-6401 ext. 3 or email: [email protected] Friday Workshop: Jazz Radio and the Community: How to Make Your Station More Relevant. Stations around the country have made their pro- SUBSCRIPTIONS: gramming more in tune with the local community by reaching out to arts Free to qualified applicants Premium subscription: $149.00 per year, organizations, schools, colleges and universities. -
Pianodisc Music Catalog.Pdf
Welcome Welcome to the latest edition of PianoDisc's Music Catalog. Inside you’ll find thousands of songs in every genre of music. Not only is PianoDisc the leading manufacturer of piano player sys- tems, but our collection of music software is unrivaled in the indus- try. The highlight of our library is the Artist Series, an outstanding collection of music performed by the some of the world's finest pianists. You’ll find recordings by Peter Nero, Floyd Cramer, Steve Allen and dozens of Grammy and Emmy winners, Billboard Top Ten artists and the winners of major international piano competi- tions. Since we're constantly adding new music to our library, the most up-to-date listing of available music is on our website, on the Emusic pages, at www.PianoDisc.com. There you can see each indi- vidual disc with complete song listings and artist biographies (when applicable) and also purchase discs online. You can also order by calling 800-566-DISC. For those who are new to PianoDisc, below is a brief explana- tion of the terms you will find in the catalog: PD/CD/OP: There are three PianoDisc software formats: PD represents the 3.5" floppy disk format; CD represents PianoDisc's specially-formatted CDs; OP represents data disks for the Opus system only. MusiConnect: A Windows software utility that allows Opus7 downloadable music to be burned to CD via iTunes. Acoustic: These are piano-only recordings. Live/Orchestrated: These CD recordings feature live accom- paniment by everything from vocals or a single instrument to a full-symphony orchestra. -
Geographic Perspectives on Contemporary / Smooth Jazz
GEOGRAPHIC PERSPECTIVES ON CONTEMPORARY / SMOOTH JAZZ By WILLIAM ROBERT FLYNN Bachelor of Music in Classical Guitar Performance California State University, Fullerton Fullerton, California 2000 Master of Applied Geography Texas State University San Marcos, Texas 2001 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2014 GEOGRAPHIC PERSPECTIVES ON CONTEMPORARY / SMOOTH JAZZ Dissertation Approved: Dr. G. Allen Finchum Dissertation Adviser Dr. Brad A. Bays Dr. Jonathan C. Comer Dr. Thomas Lanners Outside Committee Member ii ACKNOWLEDGEMENTS Completing this dissertation and my doctoral program at Oklahoma State University would not have been possible without the support of many people over the past ten years. I would like to start with my advisor and chair, Dr. Allen Finchum, who not only happens to share my interest in smooth jazz, but has always been there for me. One could not ask for a better mentor, as he was always so giving of his time, whether we were discussing my research, talking about my experiences as a graduate instructor, or him just taking an interest in my personal life. I feel blessed to have been able to work with such a special graduate committee, comprised of Dr. Jon Comer, Dr. Brad Bays, and Dr. Tom Lanners. Dr. Comer sparked my passion for quantitative methods and spatial analysis, and Dr. Bays taught my very first course at OSU, a wonderful and stimulating seminar in historical geography. With Dr. Lanners, I could not have asked for a better fit for my outside committee member, and I feel privileged to have been able to work with a musician of his caliber. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BOBBY HUTCHERSON NEA Jazz Master (2010) Interviewee: Bobby Hutcherson (January 27, 1941 – August 15, 2016) with his wife Rosemary Hutcherson Interviewer: Anthony Brown with recording engineer Ken Kimery Date: December 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 60 pp. Brown: Today is December 8th, 2010. Bobby Hutcherson: Oooo, December 8th. Brown: This is the Smithsonian NEA Jazz Oral History interview with Bobby Hutcherson in his home in Montero, California. Good afternoon, Bobby. Hutcherson: Good afternoon. Brown: It’s indeed a pleasure to be here, be in your home and be able to talk to you, one of my heroes for so many years, a fellow Californian. If we could just start by you stating your full name at birth and your birth place and birth date, please. Hutcherson: Robert Howard Hutcherson. I was born January 27, 1941, in Los Angeles, but I grew up in Pasadena, California. Brown: But you say you were born in Los Angeles. Hutcherson: Um-hmm. Brown: Is that where your parents were living at the time of your birth? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Hutcherson: No. It was – they were living in Pasadena, but a lot of my relatives were living in Los Angeles, Watts and stuff like that. So it worked out, because they could be there. My mom had me very late in her life, in those days, and so it was better for my father to take my mother to the Los Angeles hospital, because he was – his work, he was a bricklayer.