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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. -
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, -
Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
Thad Jones Discography Copy
Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr. -
Music on PBS: a History of Music Programming at a Community Radio Station
Music on PBS: A History of Music Programming at a Community Radio Station Rochelle Lade (BArts Monash, MArts RMIT) A thesis submitted for the degree of Doctor of Philosophy January 2021 Abstract This historical case study explores the programs broadcast by Melbourne community radio station PBS from 1979 to 2019 and the way programming decisions were made. PBS has always been an unplaylisted, specialist music station. Decisions about what music is played are made by individual program announcers according to their own tastes, not through algorithms or by applying audience research, music sales rankings or other formal quantitative methods. These decisions are also shaped by the station’s status as a licenced community radio broadcaster. This licence category requires community access and participation in the station’s operations. Data was gathered from archives, in‐depth interviews and a quantitative analysis of programs broadcast over the four decades since PBS was founded in 1976. Based on a Bourdieusian approach to the field, a range of cultural intermediaries are identified. These are people who made and influenced programming decisions, including announcers, program managers, station managers, Board members and the programming committee. Being progressive requires change. This research has found an inherent tension between the station’s values of cooperative decision‐making and the broadcasting of progressive music. Knowledge in the fields of community radio and music is advanced by exploring how cultural intermediaries at PBS made decisions to realise eth station’s goals of community access and participation. ii Acknowledgements To my supervisors, Jock Given and Ellie Rennie, and in the early phase of this research Aneta Podkalicka, I am extremely grateful to have been given your knowledge, wisdom and support. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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 -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Guide to the Martin Williams Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Martin Williams Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Martin Williams Collection,1945-1992 EXTENT 7 boxes, 3 linear feet COLLECTION SUMMARY Mark Williams was a critic specializing in jazz and American popular culture and the collection includes published articles, unpublished manuscripts, files and correspondence, and music scores of jazz compositions. PROCESSING INFORMATION The collection was processed, and a finding aid created, in 2010. BIOGRAPHICAL NOTE Martin Williams [1924-1992] was born in Richmond Virginia and educated at the University of Virginia (BA 1948), the University of Pennsylvania (MA 1950) and Columbia University. He was a nationally known critic, specializing in jazz and American popular culture. He wrote for major jazz periodicals, especially Down Beat, co-founded The Jazz Review and was the author of numerous books on jazz. His book The Jazz Tradition won the ASCAP-Deems Taylor Award for excellence in music criticism in 1973. From 1971-1981 he directed the Jazz and American Culture Programs at the Smithsonian Institution, where he compiled two widely respected collections of recordings, The Smithsonian Collection of Classic Jazz, and The Smithsonian Collection of Big Band Jazz. His liner notes for the latter won a Grammy Award. SCOPE & CONTENT/COLLECTION DESCRIPTION Martin Williams preferred to retain his writings in their published form: there are many clipped articles but few manuscript drafts of published materials in his files. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 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; South Africa: Don Albert. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Antelope Valley Fair Association Announces the 2Nd Annual Jazz
FOR IMMEDIATE RELEASE Contact: Wendy Bozigian March 11, 2014 Marketing Manager 661-948-6060, ext. 132 Antelope Valley Fair Association Announces the 2nd Annual Jazz Festival Artists include: Jazz Attack (featuring Rick Braun, Euge Groove & Peter White), Jessy J, John West and local artists, The Herbie Kae & Tony Capko Band LANCASTER, CA – Officials for the Antelope Valley Fair Association announced the return of the 2nd annual Lancaster Jazz Festival scheduled for June 14, 2014. Entertainment includes Jazz Attack (featuring Rick Braun, Euge Groove and Peter White), Jessy J, John West and local art- ists, The Herbie Kae and Tony Capko Band. Tickets go on sale Tuesday, March 18th at 10am at avfair.com for $30 (general admission) and $60 and $40 (reserved seating). Parking is $5.00. The festival will open at 4pm on Saturday, June 14th, in the outdoor Cantina of the A.V. Fairgrounds and feature multiple BBQ concessions to choose from, wine tasting and other food offering unique gastronomical delights. JAZZ ATTACK - RICK BRAUN - Braun began playing music in elementary school, ultimate- ly winding up at the prestigious Eastman School of Music. Braun’s first big break came when he composed “Here With Me,” a Top 20 hit for REO Speedwagon. He's been a highly regarded pop sideman, touring and recording with the likes of Rod Stewart, War, Sade, Tina Turner, Natalie Cole, and Tom Petty. His records have ranked in the Top 10 of Billboard’s Contemporary Jazz on the R&R NAC/Smooth Jazz album charts. Braun is also an in-demand producer and has de- livered #1 radio hits with artists including David Benoit, Marc Antoine and Jeff Golub. -
January 2008 Issue 300
jazz &blues report www.jazz-blues.com now in our 34th year January 2008 Issue 300 The Blues Foundation Announces 29th Annual Blues Music Awards Nominees Watermelon Slim Picked In Six Categories The Blues Foundation Announces 29th Blues Music Awards Nominees Published by Martin Wahl Communications Editor & Founder Bill Wahl Memphis, TN – The Blues Foundation will present the Blues Music Awards Layout & Design Bill Wahl for the first time in their 29-year history in the Mississippi Delta, the birthplace of the Blues. Performers, industry representatives and fans from around the Operations Jim Martin globe will celebrate the best in Blues recording and performance from the pre- Pilar Martin vious year on May 8 at the Grand Casino Event Center in Tunica Resorts, Contributors Mississippi, just down the road from Memphis, the Awards’ home since their Michael Braxton, Mark Cole, 1980 inception. Kelly Ferjutz, Dewey Forward, Among those heading the list of the honorees is Mississippi favorite son Chris Hovan, Nancy Ann Lee, Bobby Rush who garnered four nominations, including another historical first— Peanuts, Matt Simpson, Wanda nomination as Artist of the Year in both the Acoustic and Soul Blues catego- Simpson, Mark Smith, Dave ries. This singular achievement stems from the nominators’ recognition of the Sunde, Duane Verh, Emily Wahl two personas exhibited in his 2007 public performances—some shows featur- Weinstock. and Ron ing his long-running soul revue while others found him alone with a guitar and a harmonica in support of his Acoustic Album of the Year nominee Raw. Check out our constantly updated website. Now you can search for CD Watermelon Slim & the Workers returned in force, securing six nomina- Reviews by artists, titles, record tions for the second consecutive year on the strength of their Album of Year labels, keyword or JBR Writers.