DOCSLIB.ORG

Legendary Jazz Trombonist to Blow His Horn at Elon .4<!0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Legendary Jazz Trombonist to Blow His Horn at Elon .4<!0 Arts & Entertainment — F e b ru a ry 2 3 , i 99s_ Legendary jazz trombonist to blow his horn at Elon Shannon Frutcr Hal McIntyre. “It'saonce A&E Editor In 1958, however, Fontana dis­ in a lifetime appeared from the national jaz/ chance to have McCrary Thcairc will ccho scene to spend more time with his a musician of r sounds of greatness Friday nighi family. this caliber when legendary ja/,/ irombonisi He settled in Las Vegas, Nev., comc to Elon,” Carl Honiana lakes (he stage. and began blowing his horn behind McCracken Fontana, who was called the headliners like Frank Sinatra, Tony said. "Thisman "Master of Bebop" in the huerna- Bennett, Sammy Davis Jr., Paul IS going to be in tional Tromhime Association Jour­ Anka and Wayne Newton. the history nal { 1993), will be acconipanicd by During the late '60s and into books." the Rlon Faculty Ja/./. Ensemble. the ‘70s, Fontana added ja/.z par­ Despite "It's always fun playing with ties to his calendar and has since Fontana's ex­ and listening to someone like him been featured often at such events tensive career, (Fontana)," said David Bragg, tenor as the Dick Gibson Denver Jazz the only record­ saxophonist with the faculty en­ Party and the Ravinia Festival. ings made of his semble. Having entertained audienccs music before "He’s been around for a long around the world, this visit is 1985 featured time and most people who are in F(mtana’s First in the area and him accompa­ ja // circles will know who Carl former Elon faculty member and nying various Fontana is," Bragg said. alumna Nancy McCrackcn is par­ bands. In ‘85, Fontana. 67, began playing tially responsible. though, he led trombone for his father's band at McCracken, also a trombone his own quintet age 16 His career t(M>k off after player, and Fontana became friends and recorded graduating from Louisiana State after meeting during a trombone The G reat University with a bachelor's de­ workshop at Eton College, Lon­ Fontana, which gree in music education in 1950. don, in 1989. was released by Considered a "trombonist's Last November, McCracken Uptown Photo Submitted^ Reknowned jazz trombonist, Carl Fontana trombonist" by many ja/./. enthusi­ learned that Fontana would be per­ Records. asts, Fontana spent much of the forming at a party in Hilton Head, Fontana's unique style and' ties across the United States and '50s playing with such notable acts S.C., Feb. 17-19 and thought this natural talent extend beyond the will do so Saturday at the Univer­ educate and inform people about a ^ is Woody Herman, Stan Kenton, would be a good opportunity for stage. He is often invited to lead sity of North Carolina at Greens­ pioneer in the modern tromboninj era,” McCracken said. Louis Bcllson. Lionel Hampton and him to come to Elon. clinics and workshops at universi- boro. With about 50 years of music Because a large crowd is an­ behind him, Fontana's presence at ticipated, Fontana will perform in Elon should be entertaining for jazz McCrary Theatre rather than] enthusiasts and anyone else who Yeager Recital Hall, where the con-i appreciates outstanding musical cert was originally scheduled. ability. Showtime is 8 p.m. and admission "Hopefully, it (the concert) will is free to the public. Campus Interviews March 13,1995 OLDE, America's Full Sei^ice Discount Broker,®* is iookir\g for motivated people to establish a career in the brokerage business. OLDE offers: 12-18 month paid training program Potential six-figure income Excellent benefits “VVorkiiij? your way through school? If you possess excellent communication skills, general market knowledge and the desire to excel, sign up I’ve got a job that’s a real education. for an on-campus interview on March 13, 1995 in the -Jay Short, Project Coordinator Career Center. Trifphoiir-ltasrd Srnlff Krpn-srnlalhrs * Crcdll Krprrsriilallu‘s If you are unable to arrange an interview call: At American Express, you'll have the We otter a lot of things you can use plus paid vacations and holidays. 1 800 937-0606 chance lo gam some great experience right now. too - like lots of scheduling If you'd like to work in a fast-paced, or send resume to: that can give yoti a competihve edge options, so you can balance your school progressive environment where you'll be OLDE Discount Stockbrokers when you enter the |ob market You'll and work schedules And just wait until supported at every level, consider National Recruiting have the opportunity to tram in a num- those extra checks start to roll m Books, American Express Call (910) 668-5811 751 Griswold Street txr of different areas with a company clothes, gas, lood - everything's easier today to find out how lo apply EOE Detroit, MI 48226 that works together - with our cus­ with cash in your pocket And full-time tomers and with each other - to achieve or part-time, you're also eligible tor ben­ TWEL the high quality results we re known lor efits like medical, denial and eyecare RELATED .4<!0 LDE SERVICES DISCOUNT STCXTKBROKERS iiuikiiiff it better. ^ Am ncan campviy Member NYSE and SIPC u y )t iF .n \ n .i' // f . ' ic ^ r Ji ■< U it U w II ' It n ■ ^ An Equal Opportunity Employer •.
Load more

Recommended publications
  • Notre Dame Collegiate Jazz Festival Program, 2005
    Archives of the University of Notre Dame Archives of the University of Notre Dame ro WEDNESDAY, FEB. 23, 2005 Preview Night. LaFortune Ballroom. FREE .-> 8:00 p.m. University of Notre Dame Jazz Band II and Jazz Combo -I-J (J) FRIDAY, FEB. 25, 2005 Evening concert block. Washington Hall. FREE for Students; Non-students $3 for 1 night, $5 for both nights OJ U­ 6:00 p.m. Oberlin College Small Jazz Ensemble N N 6:45 p.m. Western Michigan UniversityCombo ro 7:30 p.m. University of Illinois Concert Jazz Band --, 8: 15 p.m. Oberlin College Jazz Ensemble 9:00 p.m. Western Michigan UniversityJazz Orchestra OJ 9:45 p.m. Judges' Jam ro-I-J :Jro Frank Catalano (saxophone) c·­ Andre Hayward (trombone) cO) Lynne Arriale (piano) <{OJ Jay Anderson (bass) ...c:= Steve Davis (drums) ~O ~U SATURDAY, FEB. 26, 2005 Clinic. Notre Dame Band Building. FREE 2-3:00 p.m. Meet in main rehearsal room. Evening concert block. Washington Hall. Free for Students; Non-students $3 for 1 night, $5 for both nights 6:00 p. m. University of Notre Dame Jazz Band I 6:45 p.m. Middle Tennessee State UniversityJazz Ensemble I 7:30 p.m. Jacksonville State UniversityJazz Ensemble I 8: 15 p.m. Carnegie Mellon University 6:30 Jazz Ensemble 9:00 p.m. University of Notre Dame Brass Band 9:45 p.m. Collegiate Jazz Festival Alumni Combo Archives of the University of Notre Dame Festival Director: Greg Salzler OJ Assistant to the Director: WillSeath OJ ~ Festival Graphic Designer: Melissa Martin ~ Student Union Board Advisor: Erin Byrne ,­ Faculty advisorto the festival: Larry Dwyer E SUB E-Board: Jimmy Flaherty E Patrick Vassel e Lauren Hallemann u - HeatherKimmins ro John McCarthy > Caitlin Burns .- ~ MarkHealy (J) OJ (J) 1 Jazz Festival Committee Special Thanks to: Ourguests L.L.
    [Show full text]
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
    [Show full text]
  • DAVE Mckenna CARL FONTANA Trombone
    L cJ-+. S UNIVERSITYOF NEW HAMPSHIRE OUR MNETY.THIRD PROGRAM DAVE McKENNA Plano CARL FONTANA trombone SPONSORED BY THE DEPARTMENT OF MUSIC AND THE NEW HAMPSHIRE LIBRARY OF TRADITIONAL JAZZ 8 PM MONDAY ocToBER 18. 1993 STRAFFORD ROOM MEMORIAL UNION DUNHAM, NEW HAMPSHIRE THE ARTISTS: DAVE McKENNA AND CARL FONTANA Jazz duos comprising a horn and a piano are relatively rare, even though King Oliver and Jelly Roll Morton recorded that way in the early 20's, as did louis and Earl soon thereafter (last names supplied upon request). In the first place it takes a pianist whose technicalequipment allows him to stand (or sit, or whatever) on his own, unique enough in itself and thus unlikely to generate shared circumstances. Likewise, the horn player must be able to flourish in the absenceof the bass and drummer which are usual standard equipment in the catalysis of group iazz excitement. Most important, however, is the chemistry; there must be mutual compatibility and respect, and a reservoir of complementary experience from which to draw. Tonigh(s performers, needlessto say, meet the iob descriptions. The personal artistry of each is legendary, and their friendship goes back forty years to their common ground in the Woody Herman assemblage,when big bands plalng strings of one-night stands were still the spawning ground for individuality. Some fifteen years and 92 concerts ago, on October 11 1979 to be precise, one David McKenna gave the first conc€rt in the UNH Traditional |azz Series,he being a particular favorite of its founder and continuing patron, the late Dorothy Prescott; his appearanc€ set a standard of quality, taste, and orientation which we have striven to natch ever since.
    [Show full text]
  • Bobby Knight's Great American Trombone Company
    Jazz Mark Records Presents Bobby Knight’s Great American Trombone Company On compact disk! When I Fall In Love, Recuerdos, Life’s Too Long --PLUS- - two tracks not on the original album: Carl Fontana’s FEATURING: Carl Fon- Stardust and Lover Man by Frank Rosolino. tana and Fromk Rosolino This is the only album on which Fontana and GATC’s Cream of the Crop Rosolino appeared together, and is Rosolino’s last jazz was recorded live June 17 & album before his untimely death in the fall of 1978. It 18, 1978 at Donte’s in North has become a standard for jazz lovers, especially trom- Hollywood, California with bonists, and is now available for the first time from Jazz “Bones” Howe as the en- Mark on Compact Disk. gineer. Originally released by Pye Records from London, Trombones: Charles Loper, Lew McCreary, and Subsequently by Sea Carl Fontana, Frank Rosolino. Bass Breeze Records in California, Trombone: Phil Teele. Tenor Trombone: Jazz Mark records now presents this classic album in compact disc format. Bobby Knight Selections include: Strike up the Band, Here’s That Rainy Day, Rebel Rouser, L’il Bit, Rock Bottom, I Got Rhythm, Recuerdos, Star Wars Suite, (Please Print) Select Payment Type: Name c Visa c Master Card c c Street Apt # Pers. Check Money Order City State Zip Credit Card Number: Phone ( ) E-mail Shipping Address (if different from above) Expiration Date (Month/Year): / Name Street Apt # Signature City State Zip CATALOG # ITEM DESCRIPTION PRICE QTY TOTAL JM106 Al Porcino Big Band/A. Cohn: In Oblivion 13.95 x = JM107 The Bill Potts Big Band: 555 Feet High 13.95 x = JM108 Bill Perkins/James Clay Quintet: The Right Chemistry 13.95 x = JM109 Norman Williams/Earl Swope: New Jazz Quintet 13.95 x = JM110 Bill Perkins Big Band/ Bob Cooper: Our Man Woody 13.95 x = JM111 Frank Strazzeri/Bill Perkins: Woodwinds West 13.95 x = JM112 James Clay/JohnPark/Lanphere: Saxophone Glory 13.95 x = JM113 Dallas Jazz Orchestra: Turnin’ Twenty 13.95 x = JM114 Dallas Jazz Orchestra: Romeo & Juliet 13.95 x = JM115 Dallas Jazz Orchestra/D.
    [Show full text]
  • Model Musician Sounds Provided By: Jim Matthews Who Are YOUR
    Model Musician Sounds Provided by: Jim Matthews Who are YOUR models for music? Which performing artists do YOU listen to? Who do you play for your students as a STANDARD - model of excellence? This certainly is NOT a complete list as there are many models which are not listed. This is simply a start. Flute - Emmanuel Pahud, Andreas Blau, Sharon Bezaly, Julius Baker, Jean-Pierre Rampal, James Galway, Ian Clarke, Thomas Robertello, Mimi Stillman, Aurele Nicolet, Jasmine Choi, Paula Robison, Andrea Griminelli, Jane Rutter, Jeanne Baxtresser, Sefika Kutluer, Jazz: Hubert Laws, Nestor Torres, Greg Patillo (beatbox), Ian Anderson (Jethro Tull), Herbie Mann, Dave Valentine, Oboe - Albrecht Mayer, Marcel Tabuteau, John Mack, Joe Robinson, Alex Klein, Eugene Izotov, Heinz Holliger, Elaine Douvas, John de Lancie, Andreas Whitteman, Richard Woodhams, Ralph Gomberg, Katherine Needleman, Marc Lifschey, David Weiss, Liang Wang, Francios Leleux, Bassoon - David McGill, Arthur Grossman, Klaus Thunemann, Dag Jensen, Joseph Polisi, Frank Morrelli, Judith LeClair, Breaking Winds Bassoon Quartet, Albrecht Holder, Milan Turkovic, Gustavo Nunez, Antoine Bullant, Bill Douglas, Julie Price, Asger Svendsen, Carl Almenrader, Karen Geoghegan, Clarinet - Sabine Meyer, Julian Bliss, Andrew Mariner, Martin Frost, Larry Combs, Stanley Drucker, Alessandro Carbonare, John Manasse, Sharon Kam, Karl Leister, Ricardo Morales, Jack Brymer, Yehuda Gilad, Harold Wright, Robert Marcellus, Richard Stoltzman, Jazz: Benny Goodman, Artie Shaw, Paquito D’Rivera, Eddie Daniels, Pete
    [Show full text]
  • 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,
    [Show full text]
  • 1 BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot.
    [Show full text]
  • Carl Fontana
    CARL FONTANA here is something of the shifts. After Vido Musso's brawny low `bone players I talked to would young boy's capacity to saxophone solo there is a 12-bar en- enthuse: "Oh yes, Fontana, fantastic, hero-worship that happily semble measure where agitated my favourite too!" Tnever leaves many of us. At trumpets and trombones rush and October '88—twenty years some earlier stage in our life we may fuss around, like courtiers preparing on—found me on the Nevada trail in encounter, read, or hear things which for the arrival of royalty. And, sure search of the man. Highway 10 out ring huge aesthetic bells, right there enough, Carl Fontana comes gliding of Los Angeles and turning north- on the spot, sending shock waves to majestically in with four of the most west over the mountains, past over- lap around our consciousness for the elegantly-played trombone choruses heated saloons resting on the hard rest of our days. The unsuspecting you've ever heard. Wonderful ar- shoulder, and on down to the instigators of these precious gestalts ticulation and control, imagination, scrubby desert towards Las Vegas. become heroes and models to us; gi- range, a little wry humour to flavour, Las Vegas! The very words reek of ants in our eyes. and an appropriate poignancy. diamanté and from thirty miles away One of my luckier breaks was From that magic moment of out on the highway this hedonistic to buy a second-hand copy of "Stan discovery I silently appointed Carl oasis can be easily marked by the Kenton in Hi-Fi" at Ashwood's rec- Fontana to my personal Order of He- glow of the huge neon chrysanthe- ord store in Sydney in the late Six- roes and determined to find out more mum it casts up into the sky.
    [Show full text]
  • Teaching and Learning Jazz Trombone Dissertation
    TEACHING AND LEARNING JAZZ TROMBONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia M. Gendrich, B.S., M.S. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. William T. McDaniel, Co-Adviser _______________________________ Co-Adviser Dr. Timothy A. Gerber, Co-Adviser School of Music Dr. Jon R. Woods _______________________________ Co-Adviser School of Music ABSTRACT The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences.
    [Show full text]
  • A Trombone Force 11
    Kapitel 295 ATROMBONE FORCE 11 uring its long history Stan Kenton’s band aroused strong passions both from those who loved and those who hated the band. Many felt that the band D never really swung, despite such early hits as “Eager Beaver,” “Artistry in Rhythm,” “Intermission Riff” and “The Peanut Vendor.” It is true that much of Kenton’s music was produced expressly for dancers, amounting at times to merely sophisticated mood music. And Kenton’s forays into “concert” music with the various Innovations orchestras, as well as his interpretations of the music of the romantic master Richard Wagner, not to mention the futuristic sounds concocted for the band by the singular Bob Graettinger, were far removed from the mainstream of jazz. Whatever one may think of the controversial Kenton himself and the music he championed, and where their place in the canon of jazz may ultimately be settled, one cannot deny the out- standing soloists that he employed at one time or another. From Stan Getz, Art Pepper and Shelly Manne in the ’40s to Lee Konitz and Maynard Ferguson in the ’50s and Marvin Stamm in the ’60s, and even teen-aged drummer Peter Erskine in the early ’70s, there were always some excellent sidemen in the band. The Kenton band was a great popular success in the 1940s, and it remained at least solvent (in part due to the leader’s periodic concessions to popular taste) through the ’50s, ’60s and ’70s, when the band experienced a resurgence through Kenton’s far-sighted early entry into the new jazz education scene.
    [Show full text]
  • Transcription and Analysis of Selected Trombone Solos from J. J
    University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2009-12-16 Transcription and Analysis of Selected Trombone Solos from J. J. Johnson's 1964 Recording Proof Positive Rodney Allen Lancaster University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Lancaster, Rodney Allen, "Transcription and Analysis of Selected Trombone Solos from J. J. Johnson's 1964 Recording Proof Positive" (2009). Open Access Dissertations. Paper 332. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. UNIVERSITY OF MIAMI TRANSCRIPTION AND ANALYSIS OF SELECTED TROMBONE SOLOS FROM J. J. JOHNSON’S 1964 RECORDING PROOF POSITIVE By Rodney Allen Lancaster A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida December 2009 ©2009 Rodney Allen Lancaster All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts TRANSCRIPTION AND ANALYSIS OF SELECTED TROMBONE SOLOS FROM J. J. JOHNSON’S 1964 RECORDING PROOF POSITIVE Rodney Allen Lancaster Approved: ________________ _________________ John Olah, M.M Terri A. Scandura, Ph.D. Associate Professor of Tuba Dean of the Graduate School ________________ _________________ Dante Luciani, M.M. Paul Wilson, Ph.D. Assistant Professor of Jazz Brass Professor of Music Theory ________________ Lawrence Lapin, M.M.
    [Show full text]
  • Fall/Winter 2015
    The NOTE Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Fall / Winer 2015 MED FLORY PART 2 • BILL DOBBINS • SUE TERRY • COTA In This Issue... The NOTE The NOTE contains some content that may be considered offensive. Authors’ past recollections reflect attitudes of the times and remain uncensored. Vol. 25 - No. 1 - Issue 62 3 A Note From the Collection Coordinator Fall/Winter 2015 by Matt Vashlishan 4 Phil In The Gap The NOTE is published two times per year by Phil Woods by the Al Cohn Memorial Jazz Collection, 6 Interview with Med Flory Part 2 East Stroudsburg University of Pennsylvania, by Bob Bush as part of its educational outreach program. 12 From the Bridge by Sue Terry Editor: 14 COTA Festival 2014 Matt Vashlishan, D.M.A. by Rick Chamberlain, photos by Bob Weidner Design/Layout: 17 Reflections on Bob Dorough’s “Eulalia” Charles de Bourbon at BGAstudios.com by Phil Mosley ESU Office of University Relations 21 Al Grey at ESU ________________________________ by Guest Editor Patrick Dorian Al Cohn Memorial Jazz Collection 27 Zoot Sims: a True Jazz Master Kemp Library by Bill Dobbins East Stroudsburg University 32 Straight Talk Part 2 200 Prospect St. by David Liebman East Stroudsburg, PA 18301-2999 34 Contributors & Acknowledgements [email protected] (570) 422-3828 www.esu.edu/alcohncollection From the Collection . East Stroudsburg University President Marcia G. Welsh, Ph.D. Dean of the Library and University Collections: Edward Owusu-Ansah, Ph.D. Cover Photo (front): Al Grey performing with plunger mute, ESU 1990. Photographed and do- The mission of the Al Cohn Memorial Jazz Collec- nated by Bob Napoli.
    [Show full text]