November 30, 2020 Jazz Album Chart
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Trumpeter Terence Blanchard
Biographical Description for The HistoryMakers® Video Oral History with Terence Blanchard PERSON Blanchard, Terence Alternative Names: Terence Blanchard; Life Dates: March 13, 1962- Place of Birth: New Orleans, Louisiana, USA Work: New Orleans, LA Occupations: Trumpet Player; Music Composer Biographical Note Jazz trumpeter and composer Terence Oliver Blanchard was born on March 13, 1962 in New Orleans, Louisiana to Wilhelmina and Joseph Oliver Blanchard. Blanchard began playing piano at the age of five, but switched to trumpet three years later. While in high school, he took extracurricular classes at the New Orleans Center for Creative Arts. From 1980 to 1982, Blanchard studied at Rutgers University in New Jersey and toured with the Lionel Hampton Orchestra. In 1982, Blanchard replaced trumpeter Wynton Marsalis in Art Blakey and the Jazz Messengers, where he served as musical director until 1986. He also co- led a quintet with saxophonist Donald Harrison in the 1980s, recording five albums between 1984 and 1988. In 1991, Blanchard recorded and released his self-titled debut album for Columbia Records, which reached third on the Billboard Jazz Charts. He also composed musical scores for Spike Lee’s films, beginning with 1991’s Jungle Fever, and has written the score for every Spike Lee film since including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and Miracle At St. Anna’s. In 2006, he composed the score for Lee's four-hour Hurricane Katrina documentary for HBO entitled When the Levees Broke: A Requiem in Four Acts. Blanchard also composed for other directors, including Leon Ichaso, Ron Shelton, Kasi Lemmons and George Lucas. -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By
TONE PARALLELS IN MUSIC FOR FILM: THE COMPOSITIONAL WORKS OF TERENCE BLANCHARD IN THE DIEGETIC UNIVERSE AND A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON Johnathan B. Horton B.A., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Richard DeRosa, Major Professor Eugene Corporon, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Horton, Johnathan B. Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton. Doctor of Musical Arts (Performance), August 2017, 46 pp., 1 figure, 24 musical examples, bibliography, 49 titles. This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non- diegetic tone parallel that musically narrates several authentic characteristics of African- American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. -
Prism Quartet Dedication
PRISM QUARTET DEDICATION WITH GUEST ARTIST GREG OSBY PRISM Quartet Dedication 1 Roshanne Etezady Inkling 1:09 2 Zack Browning Howler Back 1:09 3 Tim Ries Lu 2:36 4 Gregory Wanamaker speed metal organum blues 1:14 5 Renée Favand-See isolation 1:07 6 Libby Larsen Wait a Minute... 1:09 7 Nick Didkovksy Talea (hoping to somehow “know”) 1:06 8 Nick Didkovksy Stink Up! (PolyPrism 1) 1:06 9 Nick Didkovksy Stink Up! (PolyPrism 2) 1:01 10 Greg Osby Prism #1 (Refraction) 6:49 Greg Osby, alto sax solo 11 Donnacha Dennehy Mild, Medium-Lasting, Artificial Happiness 1:49 12 Ken Ueno July 23, from sunrise to sunset, the summer of the S.E.P.S.A. bus rides destra e sinistra around Ischia just to get tomorrow’s scatolame 1:20 13 Adam B. Silverman Just a Minute, Chopin 2:21 14 William Bolcom Scherzino 1:16 Matthew Levy Three Miniatures 15 Diary 2:05 16 Meditation 1:49 17 Song without Words 2:33 PRISM Quartet/Music From China 3 18 Jennifer Higdon Bop 1:09 19 Dennis DeSantis Hive Mind 1:06 20 Robert Capanna Moment of Refraction 1:04 21 Keith Moore OneTwenty 1:31 22 Jason Eckardt A Fractured Silence 1:18 Frank J. Oteri Fair and Balanced? 23 Remaining Neutral 1:00 24 Seeming Partial 3:09 25 Uncommon Ground 1:00 26 Incremental Change 1:49 27 Perry Goldstein Out of Bounds 1:24 28 Tim Berne Brokelyn 0:57 29 Chen Yi Happy Birthday to PRISM 1:24 30 James Primosch Straight Up 1:24 31 Greg Osby Prism #1 (Refraction) (alternate take) 6:49 Greg Osby, alto sax solo TOTAL PLAYING TIME 57:53 All works composed and premiered in 2004 except Three Miniatures, composed/premiered in 2006. -
National Endowment for the Arts Announces 2022 NEA Jazz Masters
July 20, 2021 Contacts: Liz Auclair (NEA), [email protected], 202-682-5744 Marshall Lamm (SFJAZZ), [email protected], 510-928-1410 National Endowment for the Arts Announces 2022 NEA Jazz Masters Recipients to be Honored on March 31, 2022, at SFJAZZ Center in San Francisco Washington, DC—For 40 years, the National Endowment for the Arts has honored individuals for their lifetime contributions to jazz, an art form that continues to expand and find new audiences through the contributions of individuals such as the 2022 NEA Jazz Masters honorees—Stanley Clarke, Billy Hart, Cassandra Wilson, and Donald Harrison Jr., recipient of the 2022 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy. In addition to receiving a $25,000 award, the recipients will be honored in a concert on Thursday, March 31, 2022, held in collaboration with and produced by SFJAZZ. The 2022 tribute concert will take place at the SFJAZZ Center in San Francisco, California, with free tickets available for the public to reserve in February 2022. The concert will also be live streamed. More details will be available in early 2022. This will be the third year the NEA and SFJAZZ have collaborated on the tribute concert, which in 2020 and 2021 took place virtually due to the COVID-19 pandemic. “The National Endowment for the Arts is proud to celebrate the 40th anniversary of honoring exceptional individuals in jazz with the NEA Jazz Masters class of 2022,” said Ann Eilers, acting chairman for the National Endowment of the Arts. “Jazz continues to play a significant role in American culture thanks to the dedication and artistry of individuals such as these and we look forward to working with SFJAZZ on a concert that will share their music and stories with a wide audience next spring.” Stanley Clarke (Topanga, CA)—Bassist, composer, arranger, producer Clarke’s bass-playing, showing exceptional skill on both acoustic and electric bass, has made him one of the most influential players in modern jazz history. -
Fall 2019 Interlude
FALL 2019 InterludeA NEWSLETTER FOR STUDENTS, ALUMNI AND FRIENDS OF THE WAYNE STATE UNIVERSITY DEPARTMENT OF MUSIC www.music.wayne.edu MUSIC NOTES FROM THE CHAIR Students Nearly 300 music majors ACCREDITED institutional Norah Duncan IV member of the National Association of Schools of Music his has been a at musicological conferences, and of Note festive year for lectured frequently to general audiences Anthony Berardi II, a senior the Department on a variety of musical topics. 7 Undergraduate T nd Instrumental Music Education major, of Music. The 52 Mary has been a valued colleague and Graduate Concentrations was elected President of NAfME State 5 75 Kawai pianos, Salute concert during her tenure at Wayne State, and Chapter. Anthony is an accomplished distributed by Evola Music featured alumna has worked tirelessly to uphold the trombonist, an active freelance Jacqueline Echols, standards of our accreditation and musician, and a member of the WSU Over 100 yearly lectures and soprano in a the standards expected of a Research Low Brass Ensemble. performance of Poulenc’s “Gloria.” Jazz 1 institution. By so doing, she has performances open to the public Big Band I + Strings performed a tribute labored to provide the very best for our Recent Instrumental Music Education concert in celebration of the legacy students. Alumna, Francesca Florence (Winter of Matt Michaels, cofounder of the Music historians usually have the last Located WITHIN the College of ‘19) was recently appointed as the Jazz Studies Program at Wayne State. work, and this is the case with Mary Fine, Performing and Communication Arts new director of the harp program for Professor Robert Conway performed Wischusen. -
Big Chief Donald Harrison Comes to the Big Apple
Big Chief Donald Harrison Comes To The Big Apple New Orleans Jazz Legend To Play NYC's Symphony Space by Tom Pryor April 16, 2012 Longtime Nat Geo Music readers must know by now that we are big, big fans of the HBO Original series Treme, and of the traditional musics and culture of New Orleans in general - especially NOLA's unique Mardi Gras Indian tradition. So it should be no surprise to find out that we were especially excited when we heard that saxman "Big Chief" Donald Harrison was coming to town this month - because Harrison is not only one of NOLA's most versatile and respected jazz artists; and he's not just another recurring, real-life fixture on Treme, but he's an honest-to-goodness "Big Chief" of the Congo Nation Afro- New Orleans Cultural Group - a direct link to the same tradition that brought us everything from the Wild Magnolias to the Dixie Cups. So you know it's gonna be a funky good time - and that the roots will run deep! An Evening with the Big Chief Donald Harrison is scheduled for Friday, April 27th, and New York's venerable Symphony Space, and will include a special guest performance by Grammy Nominated trumpeter Christian Scott. Here's what the official press release had to say about the event: Big Chief Donald Harrison merges the sounds of the New Orleans Jazz Fest and Big Apple Jazz with a special guest performance by Grammy Nominee Christian Scott. Big Chief Donald Harrison merges the sounds of the New Orleans Jazz Fest and Big Apple Jazz with a special guest performance by Grammy Nominee Christian Scott. -
GREGORY PORTER Klassikerleben
GRATIS | JULI / AUGUST 2020 Ausgabe 68 klassikerleben Empfehlungen des Klassikfachhandels LIANNE LA HAVAS MACEO PARKER MULATU ASTATKE & BLACK JESUS EXPERIENCE ADRIAN YOUNGE, ALI SHAHEED MUHAMMAD & ROY AYERS SARAH WILLIS EMMANUEL PAHUD AUGUSTIN HADELICH GREGORY PORTER KLASSIKINHALT INHALT EDITION – IMPRESSUM 03 GREGORY PORTER HERAUSGEBER 04 LIANNE LA HAVAS | MACEO PARKER | AKTIV MUSIK MARKETING GMBH & CO. KG MULATU ASTATKE & BLACK JESUS EXPERIENCE Behlstraße 9, 65366 Geisenheim 05 JOSHUA REDMAN, BRAD MEHLDAU, SITZ: Hamburg, HR A 105205 CHRISTIAN MCBRIDE, BRIAN BLADE | UstID: DE 187995651 KAMAAL WILLIAMS | DERRICK HODGE PERSÖNLICH HAFTENDE GESELLSCHAFTERIN: 06 CALLUM AU & CLAIRE MARTIN | AKTIV MUSIK MARKETING SIMONE KOPMAJER | ADRIAN YOUNGE, VERWALTUNGS GMBH ALI SHAHEED MUHAMMAD, ROY AYERS Behlstraße 9, 65366 Geisenheim 07 AUGUSTIN HADELICH | EMMANUEL PAHUD | SITZ: Hamburg, HR B 100122 IAN BOSTRIDGE, ANTONIO PAPPANO, INTERIMS-GESCHÄFTSFÜHRER: Alexander Markgraf VILDE FRANG, NICOLAS ALTSTAEDT FON: 06722/6565 08 KRISTIAN BEZUIDENHOUT, PABLO HERAS-CASADO, E-MAIL: [email protected] FREIBURGER BAROCKORCHESTER | SARAH WILLIS, JOSÉ ANTONIO MENDÉZ PADRÓN, REDAKTIONS- UND ANZEIGENLEITUNG HAVANA LYCEUM ORCHESTRA Sarah Markgraf (sm) (verantwortlich für den Inhalt) 11 GFK KLASSIK-CHARTS JUNI 2020 MITARBEITER DIESER AUSGABE 12 FACHHANDEL DES MONATS, FACHHÄNDLER Helmut Blecher (hb), Sarah Markgraf (sm), Anja Wegner #LOVERECORDSTORES FOTOGRAFEN DIESER AUSGABE Ami Sioux (1, 3 Gregory Porter), Warner Music Der Record Store Day, das jährlich stattfi ndende Para- (4 Lianne La Havas), Jessica Calvo (4 Maceo Parker), dies für Schallplatten-Verrückte, geht in die dreizehnte Agogo Records (4 Mulatu Astatke & Black Jesus Runde. Verfl ixte Dreizehn möchte man sagen. Wegen Experience), Michael Wilson (5 Joshua Redman, der Coronakrise fi ndet der diesjährige RSD in einer Brad Mehldau, Christian McBride, Brian Blade), Glauco Canalis (5 Kamaal Williams), anderen Form statt als bisher geplant. -
Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
1-15-20 the Messenger Legacy Honors Jazz Great Art Blakey at The
Media Contact: Barbara Hiller, Marketing Manager 301-600-2868 | [email protected] FOR IMMEDIATE RELEASE The Messenger Legacy Honors Jazz Great Art Blakey at the Weinberg Center FREDERICK, MD, Wednesday, January 15, 2020 — The Messenger Legacy – Art Blakey Centennial Celebration brings an all-star group of musicians to the Weinberg Center for the Arts on Friday, February 7, 2020 at 8:00 PM to play tribute to the Jazz Messengers, the big band collective led by the late Art Blakey. Tickets start at $20 and may be purchased online at WeinbergCenter.org, by calling the box office at 301- 600-2828, or in person at 20 West Patrick Street. Discounts are available for students, children, military, and seniors. Drummer Ralph Peterson Jr. has assembled an all-star group of musical talent for a tribute to the Jazz Messengers, the prolific big band collective led by his mentor, the late Art Blakey. Also the founding drummer, Blakely led the influential jazz collective from the mid-1950s until his death in 1990. This year the collective is marking the 100th anniversary of Blakey’s birth with selections from a new recording. The musicians include Peterson on percussion, saxophonists Bobby Watson and Bill Pierce, bassist Essiet Essiet, pianist Geoffrey Keezer, and trumpeter Brian Lynch. The Messenger Legacy can exist in several configurations. Musicians Phillip Harper, Robin Eubanks, Craig Handy, Donald Harrison, Johnny O’Neal, Lonnie Plaxico, Donald Brown and even the living senior Messenger Reggie Workman, are all connected to the project. Under the leadership of Blakey, the Jazz Messengers collective was a proving ground for young jazz talent, and that tradition continues today. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ELLIS MARSALIS NEA Jazz Master (2011) Interviewee: Ellis Marsalis (November 14, 1934 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: November 8-9, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 79 pp. Brown: Today is November 8, 2010. This is the Smithsonian NEA Jazz Oral History interview with Ellis Marsalis, conducted by Anthony Brown, in his home at 3818 Hickory Street in New Orleans, Louisiana. Good evening, Ellis Marsalis. Marsalis: Good evening. Brown: It is truly a pleasure of mine to be able to conduct this interview with you. I have admired your work for a long time. This is, for me, a dream come true, to be able to talk to you face to face, as one music educator to another, as a jazz musician to another, as a father to another, to bring your contributions and your vision to light and have it documented for the American musical culture record. If we could start by you stating your full name at birth, and your birth date and place of birth please. Marsalis: My names Ellis Louis Marsalis, Jr. I was born in New Orleans, November 14, 1934. Brown: Your birthday’s coming up in a few days. Marsalis: Right. Brown: Wonderful. 1934. Could you give us the names of your parents, please? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Marsalis: Ellis Louis Marsalis, Sr.