DOCSLIB.ORG

Ch Am Ber Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ch Am Ber Series Miró Quartet The Parker Quartet Jeremy Denk, piano with Jeremy Denk, piano and Shai Wosner, piano Brentano Quartet Angela Hewitt, piano FRIdaY, SEPTEmbER 16, 2011 AT 8:00 pm SUNdaY, SEPTEmbER 18, 2011 AT 3:00 pm FRIdaY, OCTobER 14, 2011 AT 8:00 pm SUNdaY, MARCH 4, 2012 AT 3:00 pm FRIdaY, APRIL 27, 2012 AT 8:00 pm The Music at Amherst Chamber Series begins the 2011 – 2012 season with the return of JEREMY DENK’s residency at Amherst will continue with a concert with the acclaimed MIRÓ THE PARKER QUARTET will team up with Juilliard-trained pianist SHAI WOSNER, exploring The BRENTANO QUARTET returns to the Buckley Recital Hall stage after several years away. Canadian pianist ANGELA HEWItt has established herself as a performing and recording JEREMY DENK. The compelling and persuasive American pianist is celebrated for his per- QUARTET. After more than 15 years together, the Quartet has earned a place among cham- the synergy between piano and strings. Recipient of the 2011 Grammy for best chamber Praised for its warmth, lyricism and “infallible instincts” (Philadelphia Inquirer), the Quartet artist of the highest caliber. She is lauded for her ability to discern and convey precise and formances as a solo and chamber musician and admired for his command of an unusually ber music’s best ensembles through their startling intensity, fresh perspective and mature music performance, the Quartet is recognized as one of chamber music’s most important enjoys successful and award-winning performances around the world. At Amherst, the captivating interpretations of a broad repertoire, and her performances of Bach are consid- broad repertoire. To kick off his weekend-long residency at Amherst, Denk will perform a approach. The Miró Quartet will play works by Schubert and Mozart before Denk joins in for young ensembles. Wosner is a sought-after soloist and chamber musician set apart by his Brentano Quartet will perform a bold and demanding concert of works by Haydn, Busoni ered definitive. For her Music at Amherst debut, Hewitt has curated an evening of works by solo concert of Ligeti and Beethoven. the Dvorˇák Piano Quintet. artistry, integrity and insight. The Amherst performance will begin with a Beethoven piano and Beethoven. Bach, Fauré, Ravel and Couperin. sonata, continue with a Debussy string quartet and conclude with Schumann’s Piano Quintet in E-flat Major. “…bracing, effortlessly virtuosic, and utterly joyous.” — The New York Times “The quartet has the singular skill of becoming the music without imposing themselves on the composer’s muse. No passing sensation, the Miró Quartet is surely among the “…flawlessly balanced, perfectly tuned and sheathed in lustrous textures.” “Passionate, uninhibited and spellbinding.” — The Independent “Ms. Hewitt is one of those rare musicians who seem to get something into their heads and most promising chamber ensembles around.” — The Denver Post — The New York Times hearts and find it at their fingertips instantaneously.” — The New York Times Boston Modern Orchestra John Hollenbeck SUBSCRIBE NOW to receive: ➨ The best seats at the best prices ➨ ➠ ➨ Priority reservation privileges for additional tickets to individual concerts P Project with Anthony Davis, piano Large Ensemble ➨ A guaranteed seat, even when the “Sold Out” sign goes up ➨ Personalized service and ticket insurance ARALLELS ES SINGLE EVENT TICKETS go on sale two weeks before each performance: CHAmbER SERIES I General Public: $28 BER Senior Citizens (65+) and Amherst College Employees: $22 Matmos Students, with valid ID: $12 PARALLELS SERIES M ER General Public: $18 Senior Citizens (65+) and Amherst College Employees: $12 FRIdaY, SEPTEmbER 30, 2011 AT 8:00 pm SATURdaY, DECEmbER 3, 2011 AT 8:00 pm SATURdaY, FEBRUARY 18, 2012 AT 8:00 pm Students, with valid ID: $10 S M.C. Schmidt and Drew Daniel combine to form MAtmOS, a duo that creates electronic The five-time Grammy-nominated BOstON MODERN ORCHEstRA PROJECT, under the The JOHN HOLLENBECK LARGE ENSEmbLE is paving the way for big bands in the contem- Tickets are nonrefundable, and programs and dates are subject to change. music from sounds of objects, animals, people and actions. Matmos is emerging at the center direction of award-winning conductor Gil Rose, is praised as one of the preeminent porary jazz world. Known for their audacious examples of the power of big-band jazz to Buckley Recital Hall has limited wheelchair-accessible seating. of the experimental music scene. The duo straddles genres, enjoying collaborations with pop American orchestras devoted exclusively to the performance of new works. BMOP will express emotions well beyond swing-era clichés, the group uses its traditional instrumen- icon Bjork and the highly touted Kronos Quartet as well as performances at Lincoln Center, join forces with pianist and composer Anthony Davis, who has been deemed a “national tation to allow it to successfully branch into new and nontraditional music. Guggenheim For further information, please contact the Concert Office at the Whitney Museum of American Art and the Natural History Museum of Los Angeles. treasure” and has made important contributions to chamber, choral and orchestral music Award-winning composer and bandleader John Hollenbeck creates music for the 18-piece (413) 542-2195 or [email protected]. CHA as well as opera and jazz. The group will perform works by Davis, George Lewis and T. J. ensemble that is influenced by jazz great Bob Brookmeyer and inspired by Hollenbeck’s study Anderson in their Amherst program, resulting in a rich and genre-bending evening of music. of Schoenberg, Ligeti and human movement. A complete list of upcoming events can be found on the Amherst College Music Department website at www.amherst.edu/academiclife/departments/ “It’s vivid, witty and intensely physical music, and it’s giving the abstract and bloodless “John Hollenbeck’s…Large Ensemble can explode with rhythmic drive and technical dazzle, music. world of electronic music something it’s needed for a long time — a living pulse.” “These musicians were rapturous—superb instrumentalists at work and play.” or it can evoke serene calm, tone poetry and even prayer. It’s a big band for a new eclectic — The Washington Post — The New York Times world.”— TimeOut New York.
Load more

Recommended publications
  • Kronos Quartet Prelude to a Black Hole Beyond Zero: 1914-1918 Aleksandra Vrebalov, Composer Bill Morrison, Filmmaker
    KRONOS QUARTET PRELUDE TO A BLACK HOLE BeyOND ZERO: 1914-1918 ALeksANDRA VREBALOV, COMPOSER BILL MORRISon, FILMMAKER Thu, Feb 12, 2015 • 7:30pm WWI Centenary ProJECT “KRONOs CONTINUEs With unDIMINISHED FEROCity to make unPRECEDENTED sTRING QUARtet hisTORY.” – Los Angeles Times 22 carolinaperformingarts.org // #CPA10 thu, feb 12 • 7:30pm KRONOS QUARTET David Harrington, violin Hank Dutt, viola John Sherba, violin Sunny Yang, cello PROGRAM Prelude to a Black Hole Eternal Memory to the Virtuous+ ....................................................................................Byzantine Chant arr. Aleksandra Vrebalov Three Pieces for String Quartet ...................................................................................... Igor Stravinsky Dance – Eccentric – Canticle (1882-1971) Last Kind Words+ .............................................................................................................Geeshie Wiley (ca. 1906-1939) arr. Jacob Garchik Evic Taksim+ ............................................................................................................. Tanburi Cemil Bey (1873-1916) arr. Stephen Prutsman Trois beaux oiseaux du Paradis+ ........................................................................................Maurice Ravel (1875-1937) arr. JJ Hollingsworth Smyrneiko Minore+ ............................................................................................................... Traditional arr. Jacob Garchik Six Bagatelles, Op. 9 .....................................................................................................
    [Show full text]
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Jazzletter Jujy 1936, VOI
    Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Jeff Jarvis,Director
    CONCERT JAZZ ORCHESTRA JEFF JARVIS, DIRECTOR WITH SPECIAL GUEST GARY SMULYAN, BARITONE SAXOPHONE SUNDAY, APRIL 29, 2012 4:00PM UNIVERSITY THEATRE PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. TONIGHT’S PROGRAM GENTLY / Bob Mintzer This well-crafted original is the title track of a recording of the Bob Mintzer Big Band. This recording project was unique in that the horn section stood in a circle surrounding a specially designed ribbon microphone that was extremely sensitive and accurate. This microphone would not accept loud dynamic levels, so Bob Mintzer wrote material that showcased the band playing at softer dynamics, which resulted in frequent use of muted brass, flugelhorns, and woodwinds. Today’s soloists include Josh Andree (tenor sax) and Will Brahm (guitar). THEN AND NOW / George Stone This terrific original composition and arrangement is featured on a recent recording of the George Stone Big Band entitled “The Real Deal”, performed by a collection of Southern California’s finest studio musicians. George’s music is frequently featured at our concerts because of its superior quality, both from a compositional standpoint and also in terms of orchestration. This piece has it all—melodic integrity, intense rhythms, lush harmonies, and sufficient solo space. Today’s soloists include Eun young Koh (piano), Josh Andree (tenor sax), Will Brahm (guitar), and Daniel Hutton (alto sax). CHINA BLUE / Jeff Jarvis Originally composed as a commission for a big band in Williamsburg VA, the work features a winding trumpet melody supported by muted trombone parts, warm flugelhorn lines, and beautiful woodwind parts played by the saxophone section. The piece proves challenging since the musicians are faced with executing exposed parts with delicacy and restraint.
    [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]
  • Kronos Quartet
    K RONOS QUARTET SUNRISE o f the PLANETARY DREAM COLLECTOR Music o f TERRY RILEY TERRY RILEY (b. 1935) KRONOS QUARTET David Harrington, VIOLIN 1. Sunrise of the Planetary Dream Collector 12:31 John Sherba, VIOLIN Hank Dutt, VIOLA 2. One Earth, One People, One Love 9:00 CELLO (1–2) from Sun Rings Sunny Yang, Joan Jeanrenaud, CELLO (3–4, 6–16) 3. Cry of a Lady 5:09 with Le Mystère des Voix Bulgares Jennifer Culp, CELLO (5) Dora Hristova, conductor 4. G Song 9:39 5. Lacrymosa – Remembering Kevin 8:28 Cadenza on the Night Plain 6. Introduction 2:19 7. Cadenza: Violin I 2:34 8. Where Was Wisdom When We Went West? 3:05 9. Cadenza: Viola 2:24 10. March of the Old Timers Reefer Division 2:19 11. Cadenza: Violin II 2:02 12. Tuning to Rolling Thunder 4:53 13. The Night Cry of Black Buffalo Woman 2:53 1 4. Cadenza: Cello 1:08 15. Gathering of the Spiral Clan 5:24 16. Captain Jack Has the Last Word 1:42 from left: Joan Jeanrenaud, John Sherba, Terry Riley, Hank Dutt, and David Harrington (1983, photo by James M. Brown) Sunrise of the Planetary possibilities of life. It helped the Dream Collector (1980) imagination open up to the possibilities It had been raining steadily that day surrounding us, to new possibilities in 1980 when the Kronos Quartet drove up curiosity he stopped by to hear the quartet Sunrise of the Planetary Dream Collector for interpretation.” —John Sherba to the Sierra Foothills to receive Sunrise practice.
    [Show full text]
  • Herbie Hancock 1 Jive Hoot (Bob Brookmeyer)
    MUNI 20150420 – Herbie Hancock 1 Jive Hoot (Bob Brookmeyer) 4:43 From album BOB BROOKMEYER AND FRIENDS (Columbia CS 9037 / 468413) Bob Brookmeyer-vtb; Stan Getz-ts; Gary Burton-vib; Herbie Hancock-p; Ron Carter- b; Elvin Jones-dr. New York City, May 1964. Herbie Hancock: THE COMPLETE BLUE NOTE SIXTIES SESSIONS (all compositions by Herbie Hancock) Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey (all sessions) Three Wishes 5:10 Donald Byrd-tp; Wayne Shorter-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. December 11, 1961. From album Donald Byrd: FREE FORM (Blue Note 95961) Watermelon Man 7:08 Freddie Hubbard-tp; Dexter Gordon-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. May 28, 1962. From album TAKIN’ OFF (Blue Note 84109 / 46506) Yams 7:56 Jackie McLean-as; Donald Byrd-tp; Herbie Hancock-p; Butch Warren-b; Tony Williams-dr. February 11, 1963. Jackie McLean: VERTIGO (Blue Note LT-1085) Blind Man, Blind Man 8:16 Donald Byrd-tp; Grachan Moncur III-tb; Hank Mobley-ts; Grant Green-g; Herbie Hancock-p; Chuck Israels-b; Tony Williams-dr. March 19, 1963. MY POINT OF VIEW (Blue Note 84126 / 84126-2) Mimosa 6:34 Herbie Hancock-p; Paul Chambers-b; Willie Bobo-dr, timb; Oswaldo „Chihuahua“ Martinez-bongos, finger cymbals. August 30, 1963. INVENTIONS AND DIMENSIONS (Blue Note 84147 / -2) One Finger Snap 7:16 Freddie Hubbard-co; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr. June 17, 1964. EMPYREAN ISLES (Blue Note 84175 / -2) Maiden Voyage 7:55 Dolphin Dance 9:16 Freddie Hubbard-tp; George Coleman-ts; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • Ed Dix Collection Finding Aid (PDF)
    University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 2 Scope and Content …………………………………………………………………… 2 Series Notes …………………………………………………………………………… 3 Container List …………………………………………………………………… 5 Series I: Scrapbooks …………………………………………………………… 5 Series II: Awards & Honors …………………………………………………… 8 Series III: Interviews …………………………………………………………… 8 Series IV: Reviews & Articles …………………………………………… 8 Series V: Photographs …………………………………………………… 13 Series VI: Brookmeyer Memorial …………………………………………… 13 Series VII: Educational Materials …………………………………………… 14 Series VIII: Correspondence …………………………………………………… 14 Series IX: Miscellaneous …………………………………………………… 22 Series X: Brookmeyer Compositions/Arrangements …………………………… 23 Addendum I …………………………………………………………………………… 28 Series I: General Business …………………………………………………… 28 Series II: Publications …………………………………………………… 32 Series III: Correspondence …………………………………………………… 33 Series IV: Miscellaneous …………………………………………………… 48 Series V: Additional Photographs …………………………………………… 50 Series VI: Media …………………………………………………………… 50 Series VII: Oversize Material …………………………………………… 51 MS275 – Ed Dix Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION BIOGRAPHICAL SKETCH Tenor saxophonist, bandleader, and financial planner, Ed Dix was born in Kansas City in 1930. He began playing clarinet at age five, but switched to tenor sax at fourteen. While in high school, he toured the U.S. in bands styled after Glenn Miller’s. He was, himself, influenced by the playing of Lester Young, the tenor saxophonist in Count Basie’s band. For the first years of his adult life, Dix continued to tour in bands. It was Mary Ann (Dix’s wife, married 1950) who got him an audition for the Ralph Flanagan Band, with which he toured throughout the country – even playing at the Palladium. Dix also led a band of his own: The Eddie Dix Orchestra (“Music That Clicks with Dix”).
    [Show full text]