DOCSLIB.ORG

Notre Dame Collegiate Jazz Festival Program, 1994

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notre Dame Collegiate Jazz Festival Program, 1994 Archives of the University of Notre Dame Archives of the University of Notre Dame 1994 CJF Staff Rental Retail CHAIRPERSONS Gregory T. Goger Brian J. Capozzi EXECUTIVE PRODUCER Sean P. Kenney ASSISTANT EXECUTIVE PRODUCER We Make You The Event! Jon Meyer The most complete line of traditional and BUSINESS MANAGER/PROGRAM LAYOUT CO-COORDINATOR contemporary formalwear fashions for all occasions Shawn White GRAPHIC DESIGN 1N1UNA1lONA~ Chris Weirup Scottsdale Mall 291-0496 fORMALWI:.AI ASOCIAOON 5205 N. Grape Road, Mishawaka 272-2486 • PROGRAM DIRECTOR/LAYOUT CO-COORDINATOR rvEMBE~ Concord Mall, Elkhart 875-8514 Suzanne Riemann ApPLICATIONS & HOSPITALITY DIRECTOR Commercial Sales v Cristina E. Mendoza 7a&e~~ PROGRAM INFORMATION e~4,~~-2 Andrew BreIU1er tlleWOIJDllUD E.K Blessing DRIR Michael O'Hara Bach . INlHE Emerson; Gazen PERSONNEL AND STAGE MANAGER P~S~-3 Gem . Tom Carney Yamaha Yam PUBLICITY Bridget Money 'Paa fl~ - 4 Elizabeth Nichol ADVERTISING DIRECTOR 'Paae~-s Christopher R. Putt ASSOCIATE ADVERTISING DIRECTOR Victor C. Nanagas 7~fl~- 7 Gibson FACULTY ADVISOR Fr. George Wiskirchen, csc. Jackson ISCOUNl. 7~~~-13 Roland "lHINC FESTIVAL ADVISOR CEi\tm Korg Rob Laux t;eeea ~eued - I B' Archives of the University of Notre Dame ';'UJm tM e~.,- On behalf of the entire staff of the 1994 Collegiate Jazz Festival, we would like to take this oppor­ tunity to welcome you to the 36th annual Jazz Festival here at the University of Notre Dame. Notre Dame is a university that thrives on tradition, and this event symbolizes what this university is about. FRIDAY NIGHT Excellence in your field - just as the University challenges its students daily, so to does this festival challenge the musician, bringing out his/her best in front of excited crowds and some of today's top jazz musicians. Longevity - the festival is the oldest of its kind and continues to grow each year. Dedi­ 7:30 p.m. University of Notre Dame Jazz Band cation - both musicians and student workers alike have put in a great deal of time and effort into making 8:15 p.m. University of Massachusetts Jazz Band I this event not only possible, but a success. Nostalgia - the memories of many performances are etched 9:00 p.m. M.LT. Festival Jazz Ensemble in the minds of those fortunate enough to be present. We hope that these qualities will shine through 9:45 p.m. Western Illinois Jazz Ensemble and that all those who attend will find the experience to be one of enjoyment and satisfaction in all respects. 10:30 p.m. Judges Jam This year you will see thirteen of the top collegiate programs in the nation. When you add the Judges' Jam and the Airmen of Note, the weekend will be certain to provide a dazzling array of enter­ SATURDAY AFTERNOON tainment for jazz lovers everywhere, and hopefully introduce many newcomers to the excitement of live jazz as we continue our efforts to spread the influence of jazz. One feature that we are especially proud of is the elimination of a competitive nature to the festival. By taking away designations such as 11:00 a.m. Judges' Clinics - Band Building, University of Notre Dame first and second place, we bring jazz back to where it should be, an opportunity for those with a gift to 1:00 p.m. Central Michigan Percussion Ensemble entertain and inspire those around them. 1:45 p.m. Southwest Texas State University Jazz Band As always, the festival is a student run event, a fact that can make those involved especially proud, and sometimes surprised when we realized how much time and effort is required to create the 2:30 p.m. Oberlin Combo finished product. Of course we must thank those whose efforts and contributions we could not do 3:15 p.m. University ofWisconsin at Stevens Point Jazz Band without. To Sean Kenney, for going to all of the meetings we decided to skip; Shawn White, for being 4:00 p.m. Michigan State University Jazz Band I the designated driver during our budget meetings; Chris Weirup, for his creative talents in designing the t-shirts I hope you're all wearing now; Chris Putt and Victor Nananananagas, for their unparalleled effort in advertising excellence; Cristina Mendoza, for putting up with deadlines we tended to set up SATURDAY NIGHT the day before; Sue Riemann, for typing all this in; and the directors of all the bands who are here, for bringing your groups and for all of your phone calls reminding us that we had forgotten yet another 7:30 p.m. Oberlin Jazz Ensemble significant piece of information we had promised the month before. The Festival owes its deepest graditude however, to Father George Wiskirchen, C.s.c. His con­ 8:15 p.m. Purdue University Jazz Band stant love for jazz and devotion to the festival have kept it going throughout the years. Without his 9:00 p.m. Manhattan School of Music Octet support the festival would never have reached the status and reputation it has today. 9:45 p.m. Western Michigan University Jazz Orchestra The years we have been involved with the festival have truly been outstanding and we are glad 10:30 p.m. Airmen of Note - guest jazz band that we have been able to carve our own small niche in the history of the festival. We thank all of you are in attendance here this weekend, for without your continued support, we could not continue to bring the finest in jazz here to Notre Dame. We look forward to returning next year as older and wiser gradu­ ates and in joining all of you in supporting the Collegiate Jazz Festival at the University of Notre Dame. ~~~ ~fl·~ eo.-e~efl? 1994 e~-e~efl? 1994 It:) CiiIr' Archives of the University of Notre Dame 1959 Bill Graham 1977 Mike Dillon 1959 Art Van Damme, Frank 1971 Richard Abrams, Willis Conover, 19&'3 Ron Carter, Bradford 1960 Jim Haughton 197ff Jim Thomas Holzfiend, Charles Suber, Robert Charlie Haden, Dan Morgenstern, Leon Marsalis, Wynton Marsalis, Jim 1961 Dave Sommer 1979 Joe Carey TrendIer Thomas, Gerald Wilson McNeely, Dan Morgenstern, Tony 1962 Tom Eiff 19ffO Stan Huddleston Williams 1963 Charlie Murphy 19ff1 Tim Griffin 1960 Willis Conover, Frank 1972 Jamey Abersold, Willis Conover, 1964 Sidney Gage 19ff2 Kevin Bauer Holzfiend, Stan Kenton, Robert Aynsley Dunbar, Roberta Flack, Hubert 19&'4 Terence Blanchard, Joanne Share, Charles Suber Laws, Dan Morgenstern, George Brackeen, Paquitto D'Rivera, Danny 1965 Daniel Ekkebus 19ff3 Bob O'Donnell Russell Gottlieb, Dave Holland, Dan 1966 Tony Andrea, Tony Rivizzigno 19ff4 Bob O'Donnell 1961 Bill Evans, Johnny Richards, Morgenstern 1967 Paul Schlaver 19ffS John J, Cerabino George Russell, Robert Share, 1973 Alvin Batiste, Joa Farrell, Jimmy 196ff John Noel 19ff6 Jerry Murphy Charles Suber Giuffre, Roy Hayes, Hubert Laws, 19&'5 Gene Bertoncini, Stanley 1969 Greg Mullen 19ff7 Kevin Cronin Dan Morgenstern, Jimmy Owens Cowell, Jimmy Heath, Dave Holland, 1970 Ann Heinrichs 19ffff David C. Thorton 1962 Don DeMichael, Quincy Butch Miles, Dan Morgenstern 1971 Ann Heinrichs 19ff9 Kevin Keane, Paul Loughridge Jones, Henry Mancini, Robert Share, 1974 Charlie Haden, Billy Harper, Roy 1972 Bob Syburg 1990 Kevin Keane Charles Suber Haynes, Dan Morgenstern, Lonnie 19&'6 Conte Candoli, Alan Dawson, 1973 Bob Syburg 1991 Jerry Larkin Liston Smith, Bill Waltrous Chuck Isreals, Ellis Marsalis, Dan 1974 Ken Lee 1992 Paul J. Goodwine 1963 Manny A/bam, Leonard Morgenstern, Lew Tabackin 1975 Barbara Simonds 1993 Erik Hanson Feather, Terry Gibbs, Robert Share, 1975 Cecil Bridgewater, Dee Dee Charles Suber Bridgewater, Jack DeJohnette, Huber 19&'7 Charlie Haden, Roy Haynes, 1976 Damian Leader Laws, Dan Morgenstern, Chuck Rainey, Larry Dwyer, Dan Morgenstern, Red 1964 Julian "Cannonball" Adderly, Sonny Rollins Rodney, Frank Wess Gary McFarland, Oliver Nelson, George Russell, Robert Share, 1976 Lester Bowie, Joe Farrell, 19&'&' John Clayton Jr., Danny Charles Suber Malachi Favors, Bob James, Dan Gottlieb, Eddie Harris, Mulgrew Morgenstern, Don Moye, Dave Miller, Dan Morgenstern, Jimmy A Special ThankpY 01Ul 1965 Paul Horn, Arif Mardin, Rob­ Remmington Owens ert Share, Charles Suber, Clark Terry The current CJF chairpersons and 1977 Randy Brecker, Bob James, Will 19&'9 Dan Morgenstern, Jim else the chairpersons could possibly think of. The 1966 Don McMichael, Quincy Lee, Bob Moses, David Sanborn McNeely, Claudio Roditi, Ed staff would like to take this opportunity to most impressive part of Tootie's work is that she Jones, Charles Suber, Billy Taylor, Fr. Shaugnessy, Frank Wess publicly thank someone whose continuous does all of this without George Wiskirchen, C.S.C. 197&' Louie Bellson, Hubert Laws, time, support, and efforts have helped not complaint and never John Lewis, Dan Morganstern, Larry 1990 Carl Allen, Alan Broadbent, only the Collegiate Jazz Festival but also 1967 Donald Byrd, Don McMichael, Ridley, Lew Tabackin Gerald Wilson, Mark Johnson, Steve asks for anything in re­ Herbie Hancock, William Russo, Lalo Turre, Donald "Duck" Harrison the entire Notre Dame Band Program turn. It is this selfless Schifrin, Robert Share 1979 Nat Adderly, Richard Davis, throughout the years. devotion and service Buddy DeFranco, Bunky Green, Philly 1991 Randy Brecker, Eddie Gomez, Mrs. Margaret Nemeth, known to that all of us would like 196&' Ray Brown, Dan Morgenstern, Joe Jones, Joe Sample Dick Oatts, Harold Mabern Jr., Roy most band members simply as "Tootie," Oliver Nelson, Robert Share, Gerald Haynes, Dan Morgenstern to publicly recognize. Wilson 19&'0 Herb Ellis, Milt Hinton, Dan efficiently oversees the workings of the band Tootie is an integral Morgenstern, Zoot Sims, Billy Taylor, 1992 John Cayton Jr., Dan office day in and day out, without fail. She part of not only CJF but 1969 Gary McFarland, Dan Tony Williams Morgenstern, Lew Tabackin, Ed does everything from helping organize each Morganstern, Sonny Stitt, Clark Terry, Thigpen, Bill Waltrous, James Will­ also the entire band pro­ Ernie Wilkins, Fr.
Load more

Recommended publications
  • COURSE CATALOG 2016-2017 Academic Calendar
    COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes.
    [Show full text]
  • By Anders Griffen Trumpeter Randy Brecker Is Well Known for Working in Montana
    INTERVIEw of so many great musicians. TNYCJR: Then you moved to New York and there was so much work it seems like a fairy tale. RB: I came to New York in the late ‘60s and caught the RANDY tail-end of the classic studio days. So I was really in the right place at the right time. Marvin Stamm, Joe Shepley and Burt Collins used me as a sub for some studio dates and I got involved in the classic studio when everybody was there at the same time, wearing suits and ties, you know? Eventually rock and R&B started to kind of encroach into the studio system so T (CONTINUED ON PAGE 42) T O BRECKER B B A N H O J by anders griffen Trumpeter Randy Brecker is well known for working in Montana. Behind the scenes, they were on all these pop various genres and with such artists as Stevie Wonder, and R&B records that came out on Cameo-Parkway, Parliament-Funkadelic, Frank Zappa, Lou Reed, Bruce like Chubby Checker. You know George Young, who Springsteen, Dire Straits, Blue Öyster Cult, Blood, Sweat I got to know really well on the New York studio scene. & Tears, Horace Silver, Art Blakey, Billy Cobham, Larry He was popular on the scene as a virtuoso saxophonist. Coryell, Jaco Pastorius and Charles Mingus. He worked a lot He actually appeared on Ed Sullivan, you can see it on with his brother, tenor saxophonist Michael Brecker, and his website. So, all these things became an early formed The Brecker Brothers band.
    [Show full text]
  • Audacity Find Clipping
    Audacity find clipping Continue See also: List of songs about California Wikimedia related to the song list article This is a list of songs about Los Angeles, California: either refer, are set there, named after a place or feature of a city named after a famous resident, or inspired by an event that occurred locally. In addition, several adjacent communities in the Greater Los Angeles area, such as West Hollywood, Beverly Hills, Santa Monica, Pasadena, Inglewood and Compton are also included in this list, despite the fact that they are separate municipalities. The songs are listed by those who are notable or well-known artists. Songs #s-A 10th and Crenshaw Fatboy Slim 100 Miles and Runnin' at N.W.A 101 Eastbound on Fourplay 103rd St. Theme Watts 103rd Street Rhythm Band 1977 Sunset Strip at Low Numbers 2 A.M. on Bobby Mulholland Drive Please, and Udenik 2 David Banner 21 Snoopstreet Trey Deee 26 Miles (Santa Catalina) at Four Preps 2 Nigs United 4 West Compton Prince 29th Street David Benoit 213 to 619 Adjacent Abstract. at Los Angeles Joe Mama 30 Piers Avenue Andrew Hill 319 La Cienega Tony, Vic and Manuel 34th Street in Los Angeles Dan Cassidy 3rd Base, Dodger Stadium Joe Kewani (Rebuilt Paradise Cooder) 405 by RAC Andre Allan Anjos 4pm in Calabasas Drake (musician) 5 p.m. to Los Angeles Julie Covington 6 'N Mornin' by Ice-T 64 Bars at Wilshire Barney Kessel 77 Sunset Strip from Alpinestars 77 Sunset Sunset Strip composers Mack David and Jerry Livingston 79th and Sunset Humble Pye 80 blocks from Silverlake People under the stairs 808 Beats Unknown DJ 8069 Vineland round Robin 90210 Blackbeard 99 miles from Los Angeles Art Garfunkel and Albert Hammond Malibu Caroline Loeb ..
    [Show full text]
  • 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.
    [Show full text]
  • Biography-George-ROBERT.Pdf
    George ROBERT Born on September 15, 1960 in Chambésy (Geneva), Switzerland, George Robert is internationally reCognized as one of the leading alto saxophonists in jazz today. He started piano at a very early age and at age 10 he began Clarinet lessons at the Geneva Conservatory with LuC Hoffmann. In 1980 he moved to Boston and studied alto saxophone with Joe Viola at the Berklee College of MusiC. In 1984 he earned a Bachelor of Arts in Jazz Composition & Arranging and moved to New York where he enrolled at the Manhattan SChool of MusiC. He studied with Bob Mintzer and earned a Master’s Degree in Jazz PerformanCe in 1987. He played lead alto in the Manhattan SChool of MusiC Big Band for 2 years, whiCh earned in 1985 the 1st Prize in the College Big Band Category in the Down Beat Magazine Jazz Awards In July 1984 he performed on the main stage of the Montreux Jazz Festival and earned an Outstanding PerformanCe Award from Down Beat Magazine. In 1985 & 1986 he toured Europe extensively. In 1987 he met Tom Harrell and together they founded the George Robert-Tom Harrell Quintet (with Dado Moroni, Reggie Johnson & Bill Goodwin). The group Completed 125 ConCerts worldwide between 1987 & 1992, and reCorded 5 albums. He remained in New York City and free-lanCed for 7 years, playing with Billy Hart, Buster Williams, the Lionel Hampton Big Band, the Toshiko Akiyoshi-Lew Tabackin Jazz OrChestra, Joe Lovano, and many others. He met Clark Terry and started touring with him extensively, Completing a 16- week, 65-ConCert world tour in 1991.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • The BBB Featuring Bernie Dresel – Live and Energized 11.1‐Channel Auro‐3D® “Live” Recording Event (Working Title)
    The BBB Featuring Bernie Dresel – Live And Energized 11.1‐Channel Auro‐3D® “Live” Recording Event (Working Title) Date: Tuesday, April 19, 2016 Arrive By 7:00 PM, Sound Check 8:00 PM NO Admission Fee Or Cover Charge Joe’s Great American Bar & Grill, Burbank, California Bernie Dresel’ s jazz orchestra, The BBB, is without question one of Los Angeles’ most exciting large jazz ensembles, if not on the planet. The BBB provides potent testimony to the sheer exhilaration of big band jazz...a combination of intense swing and fiery soloing, as well as tight ensemble playing. The BBB is comprised of sixteen seasoned pros on the LA studio scene. Populated by LA’s finest players, The BBB takes the big band tradition into the new millennium with a contemporary, highly original sound featuring the witty, intricate, and hard‐ swinging compositions of established and up‐and‐coming composers and arrangers. And like those other famous road bands such as Buddy Rich’s, Count Basie’s, Woody Herman’s, Stan Kenton’s, Thad Jones/Mel Lewis’, the music and delivery of The BBB’s music is nothing less than astonishing when experienced live. The sound has a contemporary, dynamic and hard swinging energy with a focused edge to it that is like no other jazz orchestra, though reminiscent of Buddy Rich’s ensembles. The band make‐up is unique in that there is no piano but jazz/rockin’ guitar instead, in addition to four trumpets, four trombones, five saxophones and upright acoustic bass and drums. When people hear Bernie’s BBB, the first thing that hits them is its energy and intensity.
    [Show full text]
  • Hybridity and Identity in the Pan-American Jazz Piano Tradition
    Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 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 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory.
    [Show full text]
  • The History and Development of Jazz Piano : a New Perspective for Educators
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.
    [Show full text]
  • The Basic Caruso
    THE BASIC CARUSO Five exercises for trumpet by Markus Stockhausen Exercises ® Aktivraum Musikverlag D- 5 0 6 7 7 K ö l n 2 3 Dedicated with gratitude to Carmine Caruso Dear friends and trumpet colleagues, Finally, I can show you the exercises that I found very beneficial years ago, that have already helped quite a few players. Do them with care and dedication. They are wonderful medicine. Good luck, Markus ® Aktivraum Musikverlag ISMN: M-700233-12-9 Volksgartenstr. 1 Fon: +49 221 9348118 www.aktivraum.de © copyright 2004 by D-50677 Köln Fax: +49 221 9348117 [email protected] Aktivraum Musikverlag 2 Meeting Carmine Caruso 3 In January 1978, I came to New York. It was Nevertheless I continued practicing Carmine‘s a winter with heavy snow, and New York was exercises for quite some years, though not al- peaceful and quiet. I contacted Marvin Stamm, ways with regularity. Within time, I found my whom I admired from his recordings with the own way - being a little more moderate, not Pat Williams Orchestra, and told him that I applying the full system. In this way it worked would like to have lessons with him. He said for me and for many of my students and friends that instead of taking a lesson with him I should to whom I showed them. I called these exercises go to his teacher, Carmine Caruso, which I did. „The Basic Caruso“, and this is what I would Nevertheless, I had a good time with Marvin; he like to now explain to you, dear reader.
    [Show full text]
  • 1993 February 24, 25, 26 & 27, 1993
    dF Universitycrldaho LIoNEL HmPToN/CHEVRoN JnzzFrsrr\Al 1993 February 24, 25, 26 & 27, 1993 t./¡ /ìl DR. LYNN J. SKtNNER, Jazz Festival Executive Director VtcKt KtNc, Program Coordinator BRTNoR CAtN, Program Coordinator J ¡i SusnN EHRSTINE, Assistant Coordinator ltl ñ 2 o o = Concert Producer: I É Lionel Hampton, J F assisted by Bill Titone and Dr. Lynn J. Skinner tr t_9!Ð3 ü This project is supported in part by a grant from the National Endowment for the Arts We Dedicate this 1993 Lionel Hømpton/Chevron Jøzz Festivül to Lionel's 65 Years of Devotion to the World of Juzz Page 2 6 9 ll t3 r3 t4 l3 37 Collcgc/Univcrsity Compctition Schcdulc - Thursday, Feh. 25, 1993 43 Vocal Enserrrbles & Vocal Conrbos................ Harnpton Music Bldg. Recital Hall ...................... 44 45 46 47 Vocal Compctition Schcrlulc - Fridav, Fcli. 2ó, 1993 AA"AA/AA/Middle School Ensenrbles ..... Adrrrin. Auditoriunr 5l Idaho Is OurTenitory. 52 Horizon Air has more flights to more Northwest cities A/Jr. High/.Ir. Secondary Ensenrbles ........ Hampton Music Blclg. Recital Hall ...............,...... 53 than any other airline. 54 From our Boise hub, we serve the Idaho cities of Sun 55 56 Valley, Idaho Falls, Lewiston, MoscowÆullman, Pocatello and AA/A/B/JHS/MIDS/JR.SEC. Soloists ....... North Carnpus Cenrer ll ................. 57 Twin Falls. And there's frequent direct service to Portland, lnstrurncntal Corupctilion'Schcrlulc - Saturday, Fcll. 27, 1993 Salt Lake City, Spokane and Seattle as well. We also offer 6l low-cost Sun Valley winter 8,{. {ÀtûåRY 62 and summer vacation vt('8a*" å.t. 63 packages, including fOFT 64 airfare and lodging.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1992
    Kattl hlCL^WOOD I ? 7 2 W Toofc ofExcellence In every discipline, outstanding performance springs from the combination of skill, - vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics -> Jazz At Tanglewood WM Friday, Saturday, and Sunday August 28, 29, and 30, 1992 Tanglewood, Lenox, Massachusetts '-•' Friday, August 28, at 7:30 p.m. THE MODERN JAZZ QUARTET RAY CHARLES Koussevitzky Music Shed Saturday, August 29 at 4 :30 p.m. CHRISTOPHER HOLLYDAY QUARTET REBECCA PARRIS and the GEORGE MASTERHAZY QUARTET Theatre-Concert Hall at 7:30 p.m. MAUREEN McGOVERN and MEL TORME with the HERB POMEROY BIG BAND Koussevitzky Music Shed Sunday, August 30 at 4 :30 p.m. GARY BURTON AND EDDIE DANIELS Theatre-Concert Hall at 7:30 p.m. DAVE BRUBECK QUARTET WYNTON MARSALIS Koussevitzky Music Shed ARTISTS The Modern Jazz Quartet Gibbs in the Woody Herman Second Herd. The following year he rejoined the Gillespie band, eventually becoming a founding member of the Modern Jazz Quartet. Among the many compositions Mr. Jackson contributed to the group, "Bags' Groove" has become a classic. During the members' annual vacation from the MJQ, Milt Jack- son assembles various groups of musicians to record albums under his own name and to play occasional engagements. Recently he returned to his bebop roots for an album aptly entitled Be Bop. Bass player Percy Heath was born in Making a return Tanglewood appearance, Wilmington, North Carolina, and grew up the Modern Jazz Quartet has a unique in Philadelphia.
    [Show full text]