Notre Dame Collegiate Jazz Festival Program, 1994
Total Page:16
File Type:pdf, Size:1020Kb
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. -
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. -
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 .. -
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. -
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. -
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”. -
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. -
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. -
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. -
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. -
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. -
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.