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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, -
94 DOWNBEAT JUNE 2019 42Nd ANNUAL
94 DOWNBEAT JUNE 2019 42nd ANNUAL JUNE 2019 DOWNBEAT 95 JeJenna McLean, from the University of Northern Colorado in Greeley, is the Graduate College Wininner in the Vocal Jazz Soloist category. She is also the recipient of an Outstanding Arrangement honor. 42nd Student Music Awards WELCOME TO THE 42nd ANNUAL DOWNBEAT STUDENT MUSIC AWARDS The UNT Jazz Singers from the University of North Texas in Denton are a winner in the Graduate College division of the Large Vocal Jazz Ensemble category. WELCOME TO THE FUTURE. WE’RE PROUD after year. (The same is true for certain junior to present the results of the 42nd Annual high schools, high schools and after-school DownBeat Student Music Awards (SMAs). In programs.) Such sustained success cannot be this section of the magazine, you will read the attributed to the work of one visionary pro- 102 | JAZZ INSTRUMENTAL SOLOIST names and see the photos of some of the finest gram director or one great teacher. Ongoing young musicians on the planet. success on this scale results from the collec- 108 | LARGE JAZZ ENSEMBLE Some of these youngsters are on the path tive efforts of faculty members who perpetu- to becoming the jazz stars and/or jazz edu- ally nurture a culture of excellence. 116 | VOCAL JAZZ SOLOIST cators of tomorrow. (New music I’m cur- DownBeat reached out to Dana Landry, rently enjoying includes the 2019 albums by director of jazz studies at the University of 124 | BLUES/POP/ROCK GROUP Norah Jones, Brad Mehldau, Chris Potter and Northern Colorado, to inquire about the keys 132 | JAZZ ARRANGEMENT Kendrick Scott—all former SMA competitors.) to building an atmosphere of excellence. -
Vut 20140303 – Big Bands
JAMU 20140305 – BIG BANDS (2) 10. Chicago Serenade (Eddie Harris) 3:55 Lalo Schifrin Orchestra: Ernie Royal, Bernie Glow, Jimmy Maxwell, Marky Markowitz, Snooky Young, Thad Jones-tp; Billy Byers, Jimmy Cleveland, Urbie Green-tb; Tony Studd-btb; Ray Alonge, Jim Buffington, Earl Chapin, Bill Correa-h; Don Butterfield-tu; Jimmy Smith-org; Kenny Burrell-g; George Duvivier-b; Grady Tate-dr; Phil Kraus-perc; Lalo Schifrin-arr,cond. Englewood Cliffs, NJ, April 27/29, 1964. Verve V6-8587. 11. A Genuine Tong Funeral – The Opening (Carla Bley) 2:14 Gary Burton Quartet with Orchestra: Gary Burton-vib; Larry Coryell-g; Steve Swallow-b; Bobby Moses-dr; Mike Mantler-tp; Jimmy Knepper-tb,btb; Howard Johnson-tu,bs; Leandro “Gato” Barbieri-ts; Steve Lacy-ss; Carla Bley-p,org,cond. New York, July 1967. RCA Victor LSP 3901. 12. Escalator Over the Hill (Carla Bley) 4:57 Michael Mantler-tp; Sam Burtis, Jimmy Knepper, Roswell Rudd-tb; Jack Jeffers-btb; Bob Carlisle, Sharon Freeman-h; John Buckingham-tu; Jimmy Lyons-as; Gato Barbieri-ts; Chris Woods-bs; Perry Robinson-cl; Nancy Newton-vla; Charlie Haden-b; Paul Motian-dr; Tod Papageorge, Bob Stewart, Rosalind Hupp, Karen Mantler, Jack Jeffers, Howard Johnson, Timothy Marquand, Jane Blackstone, Sheila Jordan, Phyllis Schneider, Pat Stewart-voc; Bill Leonard, Don Preston, Viva, Carla Bley- narrators. November 1968-June 1971, various places. JCOA 839310-2. 13. Adventures in Time – 3x3x2x2x2=72 (Johnny Richards) 4:29 Stan Kenton Orchestra: Dalton Smith, Bob Behrendt, Marvin Stamm, Keith Lamotte, Gary Slavo- tp; Bob Fitzpatrick, Bud Parker, Tom Ringo-tb; Jim Amlotte-btb; Ray Starlihg, Dwight Carver, Lou Gasca, Joe Burnett-mell; Dave Wheeler-tu,btb; Gabe Baltazar-as, Don Menza, Ray Florian-ts; Allan Beutler-bs; Joel Kaye-bass,bs; Stan Kenton-p; Bucky Calabrese-b; Dee Barton-dr; Steve Dweck- tympani,perc. -
KSU Jazz Guitar Ensemble and Vocal Jazz Combo, with the St. Pius X
SCHOOL of MUSIC where PASSION is heard KSU Jazz Guitar Ensemble Trey Wright, Director KSU Vocal Jazz Combo Karla Harris, Director featuring St. Pius X Advanced Guitar Ensemble Brion Kennedy, Director Wednesday, November 20, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program St. Pius X Advanced Guitar Ensemble CISSY STRUT THE METERS / arr. Wright BAG’S GROOVE MILES DAVIS / arr. Wright ST. THOMAS SONNY ROLLINS / arr. Wright BLUES IN THE CLOSET OSCAR PETTIFORD / arr. Wright KSU Jazz Guitar Ensemble BLUES FOR JACK CHRIS BUZZELLI BLACK ORPHEUS / SAMBA DE ORFEO LUIZ BONFA / arr. Hankinson IN THESE ROOMS KEVIN BURNKHORST NIGHT AND DAY COLE PORTER / arr. Marks KSU Vocal Jazz Combo DAYDREAM BILLY STRAYHORN, JOHN LATOUCHE / arr. Ayars ROUTE 66 BOBBY TROUP / arr. Ayars CELEBRATE ME HOME BOB JAMES, KENNY LOGGINS / arr. Ayars We Gratefully acknowledge the generous contributions of composer/ arranger Bo Ayars in his support of the KSU Vocal Jazz Combo. Audio/video recording and flash photography is prohibited at School of Music concerts. 2 Kennesaw State University School of Music Personnel St. Pius X Advanced Guitar Ensemble Reagan Andrews Tim Brosnan Sarah Escofferey Cooper Harlan Brianna Harris Ella Hill Sophia Kraft Matthew McDaniel Natalie Mohr Vy Nguyen Caroline Parks Alex Ratchford Nicolas Rose Amelia Temme Benjamin Whitaker Ben Wulkan Specer Brown, drums Brion Kennedy, Director KSU Jazz Guitar Ensemble Chris Marks Trey Dunahoo Rodrigo Suarez Diego Fonsesca Perez Louis Reyes Brad Cannata, bass Zack Smith, drums Trey Wright, Director KSU Vocal Jazz Combo Melodie Fort Piper Johnson Sadie Llop Victoria Sigur Auriyan Tillman Ezra Trotman Brian Reid, piano Brad Cannata, bass Karla Harris, Director musicKSU.com 3 Biographies Brion Kennedy Earning his Bachelor’s Degree in Music from the University of Georgia, Mr. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Mount Morris Park Historic District Extension Designation Report
Mount Morris Park Historic District Extension Designation Report September 2015 Cover Photograph: 133 to 143 West 122nd Street Christopher D. Brazee, September 2015 Mount Morris Park Historic District Extension Designation Report Essay Researched and Written by Theresa C. Noonan and Tara Harrison Building Profiles Prepared by Tara Harrison, Theresa C. Noonan, and Donald G. Presa Architects’ Appendix Researched and Written by Donald G. Presa Edited by Mary Beth Betts, Director of Research Photographs by Christopher D. Brazee Map by Daniel Heinz Watts Commissioners Meenakshi Srinivasan, Chair Frederick Bland John Gustafsson Diana Chapin Adi Shamir-Baron Wellington Chen Kim Vauss Michael Devonshire Roberta Washington Michael Goldblum Sarah Carroll, Executive Director Mark Silberman, Counsel Jared Knowles, Director of Preservation Lisa Kersavage, Director of Special Projects and Strategic Planning TABLE OF CONTENTS MOUNT MORRIS PARK HISTORIC DISTRICT EXTENSION MAP .................... AFTER CONTENTS TESTIMONY AT THE PUBLIC HEARING .............................................................................................. 1 MOUNT MORRIS PARK HISTORIC DISTRICT EXTENSION BOUNDARIES .................................... 1 SUMMARY .................................................................................................................................................. 3 THE HISTORICAL AND ARCHITECTURAL DEVELOPMENT OF THE MOUNT MORRIS PARK HISTORIC DISTRICT EXTENSION Early History and Development of the Area ................................................................................ -
College Voice Vol. 13 No. 12
Connecticut College Digital Commons @ Connecticut College 1989-1990 Student Newspapers 11-21-1989 College Voice Vol. 13 No. 12 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_1989_1990 Recommended Citation Connecticut College, "College Voice Vol. 13 No. 12" (1989). 1989-1990. 2. https://digitalcommons.conncoll.edu/ccnews_1989_1990/2 This Article is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 1989-1990 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. THE COL E VOICE November 21, 1989 Volume XIII, Number 12 Ad FonteB STUDENTS, FACULTY VOTE Alumnus Arrested ON STRATEGIC PLAN After Firing Gun SGA Faculty In South Lot He also wore tinted sunglasses with by Craig Timberg slightly purple lenses. Approves Vote The College Voice The episode began shortly before 3 p.m., when Molly Embree, '93, a A recent graduate of the college second floor resident of Knowlton, Plan Monday allegedly fired gunshots in South called Campus Safety to report a Lot Friday afternoon before speed- suspicious man in the dormitory. ing off campus. The New London She said that he was walking in by Sarah Huntley by Sarah Huntley The College Voice Police arrested and charged the sus- the halls "aimlessly" and that he The College Voice and PCCl. twice whistled suggestively at her. Lisa M. Allegretto Police Sgt. Krogrud confirmed Embree added that another In an unanimous decision this Edllor-In-Chier that the ar- Knowlton Thursday, the Student Govern- rested man 'I just thought he was resident re- ment Association upheld the ra- As the [acuity gears up for Monday's meeting to vote on the was 26 year ' hi ported that tionale and overall goals outlined old Charles very weird.; IS behavior the man had. -
Impex Records and Audio International Announce the Resurrection of an American Classic
Impex Records and Audio International Announce the Resurrection of an American Classic “When Johnny Cash comes on the radio, no one changes the station. It’s a voice, a name with a soul that cuts across all boundaries and it’s a voice we all believe. Yours is a voice that speaks for the saints and the sinners – it’s like branch water for the soul. Long may you sing out. Loud.” – Tom Waits audio int‘l p. o. box 560 229 60407 frankfurt/m. germany www.audio-intl.com Catalog: IMP 6008 Format: 180-gram LP tel: 49-69-503570 mobile: 49-170-8565465 Available Spring 2011 fax: 49-69-504733 To order/preorder, please contact your favorite audiophile dealer. Jennifer Warnes, Famous Blue Raincoat. Shout-Cisco (three 200g 45rpm LPs). Joan Baez, In Concert. Vanguard-Cisco (180g LP). The 20th Anniversary reissue of Warnes’ stunning Now-iconic performances, recorded live at college renditions from the songbook of Leonard Cohen. concerts throughout 1961-62. The Cisco 45 rpm LPs define the state of the art in vinyl playback. Holly Cole, Temptation. Classic Records (LP). The distinctive Canadian songstress and her loyal Jennifer Warnes, The Hunter. combo in smoky, jazz-fired takes on the songs of Private-Cisco (200g LP). Tom Waits. Warnes’ post-Famous Blue Raincoat release that also showcases her own vivid songwriting talents in an Crosby, Stills, Nash & Young, Déjá Vu. exquisite performance and recording. Atlantic-Classic (200g LP). A classic: Great songs, great performances, Doc Watson, Home Again. Vanguard-Cisco great sound. The best country guitar-picker of his day plays folk ballads, bluegrass, and gospel classics. -
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. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Full Biography
FULL BIO For forty years, pianist/composer and Fulbright Scholar ARMEN DONELIAN has distinguished himself in 25 countries as a performer, recording artist, master class leader and with his published writings. Donelian’s music is a distinctive blend of 20 influences including his Armenian origin, his Classical technique, and his association with some of the biggest names in Jazz. And, according to Metronom Magazine (1986), he achieves this fusion In such a natural way that one can tell it’s a master’s work. “The best time to learn music,” says Davis and John Coltrane. “Folk, Rock, Dixieland, Jazz, Church, Show and Society music – I played pianist Armen Donelian, “is when you’re them all while growing up,” says Donelian. young, while the brain synapses are still open and fresh. I started playing by ear “In college, I made money by accompanying when I was 5 or 6, and started classical theater and dance classes, providing cocktail music piano lessons when I was about 7 at the at a restaurant on campus and playing and Westchester Conservatory of Music. I arranging for an 8-piece Jazz/Rock band. After was lucky to have parents who supported graduation, I had no gigs, no direction, and lived at my musical aspiration.” home for a few months. My ex-girlfriend’s mother told me, ‘Armen, nothing is going to happen unless As a child, Armen absorbed the sound of you make it happen.’ Armenian, Turkish, Greek and Middle Eastern music at social gatherings and “So, after graduating from Columbia University in from records his father played at home. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.