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Second Wind: a Tribute to E Music of Bill Evans
Chuck Israels Jazz Orchestra contribution to Evans’ body of work. Second Wind: A Tribute To e Music Israels, of course, was the replacement for the Of Bill Evans legendary Scott LaFaro, who died in a car accident SOULPATCH in 1961, the loss of a friend and creative partner ++++ ½ that had devastated Evans. Eventually he found his footing with Israels, who had worked with As the famous album title has it, everybody digs Bill Evans. a who’s who of greats including Billie Holiday, But not everybody has su#ciently dug Chuck Israels, Evans’ Benny Goodman, Coleman Hawkins and John great, underappreciated bassist from his second trio (1962– Coltrane. Besides being a brilliant technician with 1966). is album, Israels’ return to full-time performing a wonderful round tone, Israels was an exquisitely aer a 30-year teaching career, should win him new fans for sensitive musical partner who helped bring out the his prodigious skills as both arranger and bassist, even as it best in the introspective Evans. Aer his stint with serves to remind longtime Evans devotees of his signi!cant Evans, Israels studied composition and arrang- ing with Hall Overton, who arranged elonious Monk compositions for a tentet at Monk’s tri- umphant 1959 Town Hall concert. Later, Israels became a pioneer of the jazz repertory movement, founding and leading the National Jazz Ensemble from 1973 to 1981. Although Israels has played Evans tunes with others (notably Danish pianist omas Clausen on the excellent 2003 trio album For Bill ), this is the !rst time he has orchestrated a whole album of songs associated with or inspired by Evans for a larger ensemble. -
Birth of the Film by Bruce Spiegel
Bill Evans Time Remembered Birth of the Film by Bruce Spiegel There was a crystal moment when you knew for certain this Bill Evans movie was going to happen. And it was all due to drummer Paul Motian. But let me digress for a moment. I have been listening to jazz since I was a kid, not knowing why but just listening. My father had a webcor portable record player and he had a small but mighty collection of brand new 33 rpm albums. There was Benny Goodman in hi fi, there was the Uptown Stars play Duke Ellington. Illinois Jacquet and Slam Stewart; then there was Fats Waller, and with Honeysuckle Rose and the flip side of the 45, Your Feet’s Too Big. How I loved that song. “Up in Harlem there was 4 of us, me your two big feet, and you!” At college level or maybe it was high school, it was Art Blakey and the Jazz messengers, moaning Horace silver, everything of his, and then the cavalcade began with Monk, Trane, and Miles. I bought an old fisher- amp, speaker and record player and got everything possible, all the way from Louis Armstrong to Jelly Roll Morton; from Teddy Wilson to Sonny Clark. For me it was a young thirst for the best in jazz, just a lifetime of searching for the best records, the real records. And making a collection of them. It was a life-long journey. I had heard Bill Evans but it wasn’t until I was older, much older that I was smitten; really hit hard with his music. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
Claus Ogerman | Symphonic Dances • Some Times (Ballet) Claus Ogerman Was Born in Ratibor, Ger- Reach the Listener”)
Claus Ogerman | Symphonic Dances • Some Times (Ballet) Claus Ogerman was born in Ratibor, Ger- reach the listener”). His two big influences this isn’t quite true, it has a by-product ex- many on April 29, 1930. He studied music were Max Reger and Alexander Scriabin, istence that is powerless to create or even in Nuremberg. In Germany, he scored two composers whose music he adored. justify. Nevertheless, composition involves several films from 1956 through 1959. He a deep intuition for theory.’” then moved to the United States, where he I first issued these performances on CD became one of the most prolific and in-de- back in 1992 on my then-label Bay Cities. I In the end, however, we have the music. mand arrangers/orchestrators for some of can’t remember exactly how I got in touch Whatever technique or theory one can go the most iconic artists of the 1960s, includ- with Claus Ogerman, but I think I spoke to on about is ultimately irrelevant to the lis- ing Antonio Carlos Jobim, Wes Montgom- someone who knew him and I think I asked tener. The mind and heart respond to the ery, Kai Winding, Cal Tjader, Stan Getz, Al that person to tell him I was a huge fan of music and that response is, of course, dif- Hirt, Wynton Kelly, Jimmy Smith, Oscar Pe- his and that the Bill Evans Symphony Or- ferent for each listener. Symphonic Dances terson, and others, as well as singers such chestra album was in my top ten desert is- is a beautiful, textured, and haunting work as Frank Sinatra, Sammy Davis, Jr., Astrud land albums. -
Glenn Gould in the Style of Thuggish Lunatics, Smashing Were a Series of Uneven Releases, Long Hia
TEACHING WITH IN TUNE I C O N GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG WHO: Rock quartet from London, England WHAT: One of the essential acts of the original 1960s British Invasion; loud, lyrical, and ambitious WHEN: Formed in 1964, still active in 2017, even after losing two key members and matured into one of the towering songwriters of the time. With their 1969 “rock opera” Tommy, the Who showed they could make a conceptually uni- BY PETER GERSTENZANG ed album that brought in elements of classical music ICONOGRAPHY and told a story—a strange ICON GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG tale about a deaf, dumb, The Who and blind boy who mirac- Singer and ulously regains his senses GREAT MUSICIANS IN HISTORY WHO: OR THE FIRST 10 years of their existence, the Who and becomes a prophet—while never WHO: Classical pianist ICON electric guitar player A gospel and thrillingly stretched the boundaries of rock, becoming sounding pretentious. WHAT: A brilliant, if eccentric, WHAT: The music only improved from there musical interpreter who R&B pioneer who may one of the most important and in uential British bands redefi ned how a classical just be the mother of F with the 1971 masterpiece Who’s Next and HE ARGUMENT rock music musician could play, record, Born Mar. 20, of the ’60s, along with the Beatles and the Rolling Stones. a second rock opera, 1973’sQuadrophenia, act, and look about who was WHEN: which told stories of both the mods and BY PETER GERSTENZANG 1915, Cotton Plant, After a brief stint as the Detours, gui- WHEN: Born Sept. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
Some of This, Some of That
Musicians: Danny Charvat - piano Nils Andreason - tenor and soprano saxophone Graham Ring - double bass Elias Williamson - drums Repertoire: Fresh Air…………………...…….…….Danny Charvat Dolphin Dance…………...……….….Herbie Hancock By The C………….………..……….…...Graham Ring Easy Living….………….….Ralph Rainger/Leo Robin Look to the Sky…………....…..Antonio Carlos Jobim Spain ……………………..….……………Chick Corea Blue in Green…….…………....Miles Davis/Bill Evans Phytoplankton…….…………...…...….Danny Charvat Program Notes: This set list is compiled to demonstrate a well-rounded mix of tempos and styles within the jazz idiom. I have chosen a mix of classic jazz compositions along with more modern jazz songs in order to display the growth of my playing since coming to Lewis and Clark. The standards I have chosen relate to the feelings they give me when I play them. Some of them are lighthearted, while others inspire me to contemplate more serious themes. Fresh Air I wrote Fresh Air during the beginning of March, when we were getting our first full days of sunlight. It was relieving to be outside and enjoy the bright days of early spring. With this on my mind, I came up with a melody that lends itself to a more spacious feel. However, spring isn’t all sunshine. Therefore the B section modulates to a minor key to represent the darker days, along with a falling melody which represents the ever-present rain. Dolphin Dance Written by Herbie Hancock, Dolphin Dance explores harmonies unlike any other song in my collection of tunes tonight. It was first recorded in 1965 as the fifth and final song in the album Maiden Voyage. -
Led Zeppelin R.E.M. Queen Feist the Cure Coldplay the Beatles The
Jay-Z and Linkin Park System of a Down Guano Apes Godsmack 30 Seconds to Mars My Chemical Romance From First to Last Disturbed Chevelle Ra Fall Out Boy Three Days Grace Sick Puppies Clawfinger 10 Years Seether Breaking Benjamin Hoobastank Lostprophets Funeral for a Friend Staind Trapt Clutch Papa Roach Sevendust Eddie Vedder Limp Bizkit Primus Gavin Rossdale Chris Cornell Soundgarden Blind Melon Linkin Park P.O.D. Thousand Foot Krutch The Afters Casting Crowns The Offspring Serj Tankian Steven Curtis Chapman Michael W. Smith Rage Against the Machine Evanescence Deftones Hawk Nelson Rebecca St. James Faith No More Skunk Anansie In Flames As I Lay Dying Bullet for My Valentine Incubus The Mars Volta Theory of a Deadman Hypocrisy Mr. Bungle The Dillinger Escape Plan Meshuggah Dark Tranquillity Opeth Red Hot Chili Peppers Ohio Players Beastie Boys Cypress Hill Dr. Dre The Haunted Bad Brains Dead Kennedys The Exploited Eminem Pearl Jam Minor Threat Snoop Dogg Makaveli Ja Rule Tool Porcupine Tree Riverside Satyricon Ulver Burzum Darkthrone Monty Python Foo Fighters Tenacious D Flight of the Conchords Amon Amarth Audioslave Raffi Dimmu Borgir Immortal Nickelback Puddle of Mudd Bloodhound Gang Emperor Gamma Ray Demons & Wizards Apocalyptica Velvet Revolver Manowar Slayer Megadeth Avantasia Metallica Paradise Lost Dream Theater Temple of the Dog Nightwish Cradle of Filth Edguy Ayreon Trans-Siberian Orchestra After Forever Edenbridge The Cramps Napalm Death Epica Kamelot Firewind At Vance Misfits Within Temptation The Gathering Danzig Sepultura Kreator -
An Evening with Savion Glover & Jack Dejohnette
Co-present AN EVENING WITH SAVION GLOVER & JACK DEJOHNETTE Savion Glover Tap Dancer Jack DeJohnette Drums Featuring George Colligan Piano Jerome Harris Bass Marshall Davis, Jr. Tap Dancer Monday, June 20 & Tuesday, June 21 at 8:00pm Page Auditorium Performance: 90 minutes, including intermission and pause Savion Glover with Marshall Davis, Jr. INTERMISSION Jack DeJohnette and his Trio PAUSE Savion Glover with Jack DeJohnette and full company SAVION GLOVER Savion Glover is a Tony Award-winning choreographer and legendary hoofer whose career has spanned four decades. He began his Broadway stage career as The Tap Dance Kid, and continued with Black and Blue, Jelly's Last Jam, and his unprecedented award-winning Bring in da Noise Bring in da Funk, which garnered him a Tony Award for Best Choreography. He choreographed the multiple Tony Award nominee and Broadway sensation Shuffle Along with his longtime collaborator George C. Wolfe. In addition to his extensive Broadway career as a performer and choreographer, Savion has created many tap shows that tour worldwide including Bare Soundz, Classical Savion, OM, StepZ, Solo in Time, Sole Sanctuary, Improvography, Footnotes, and Savion Glover's Holiday Spectacular. In addition to creating his ongoing body of work, Savion has enjoyed performing worldwide with jazz legends including McCoy Tyner, Roy Haynes, and Jack DeJohnette. Mr. Glover's film credits include Tap, starring Gregory Hines and Sammy Davis, Jr.; Spike Lee's Bamboozled, and George Miller's Happy Feet and Happy Feet Two. He has appeared on television in commercials for Nike and is a longstanding performer on Sesame Street. As a child, Glover was privileged to dance with and be guided by the great Bunny Briggs, Buster Brown, Lon Chaney, Gregory Hines, Sammy Davis, Jr., Jimmy Slyde and Diane Walker. -
Herbie Hancock Returns to His Hometown to Perform His First Concert in Nearly Two Years, Opening the 2021/22 Symphony Center Presents Jazz Series
For Immediate Release: Press Contacts: July 8, 2021 Eileen Chambers 312-294-3092 Dana Navarro 312-294-3090 HERBIE HANCOCK RETURNS TO HIS HOMETOWN TO PERFORM HIS FIRST CONCERT IN NEARLY TWO YEARS, OPENING THE 2021/22 SYMPHONY CENTER PRESENTS JAZZ SERIES Thursday, September 2, at 7:30 p.m. Tickets On Sale to Subscribers Now and General Public on July 13 CHICAGO—Legendary pianist and composer Herbie Hancock and his band open the 2021/22 Symphony Center Presents (SCP) Jazz series—the first SCP Jazz concert in 19 months—on Thursday, September 2, at 7:30 p.m. This concert celebrates the 70th anniversary of Hancock’s Orchestra Hall debut with the Chicago Symphony Orchestra and is his first concert in nearly two years, opening a national tour from his hometown. Tickets are on sale to subscribers now and to the general public on Tuesday, July 13, at 10 a.m. “It’s time for me to get back out there and do what I love to do,” said Hancock. “We will be safe and we will be careful, but it’s time to reconnect with our fans, play live music and have some fun after a long period of isolation. It’s time to spread a little joy.” Now in the sixth decade of his professional life, Hancock continues to amaze audiences and inspire musicians across all genres. In 1952, at age 11, he first performed a movement of a Mozart piano concerto with the Chicago Symphony Orchestra as a winner of its Youth Auditions competition. Subsequently, he has appeared numerous times on the SCP Jazz series and with the CSO both in Orchestra Hall and at Ravinia. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
Essential Jazz Recordings
ESSENTIAL JAZZ RECORDINGS The recordings listed here are taken from a comprehensive statistical survey of jazz critics, record stores and popular polls. Miles Davis Kind of Blue (Legacy 64935) John Coltrane Blue Train (Blue Note 95326) Duke Ellington Never No Lament: Blanton/Webster Band (RCA 50857) Charles Mingus Mingus Ah Um (Legacy 65512) Thelonious Monk Brilliant Corners (OJC 261) Miles Davis Bags’ Groove (OJC 245) Sonny Rollins Saxophone Colossus (OJC 291) Louis Armstrong Complete Hot 5 & Hot 7 Recordings (Legacy 63527) Bill Evans Trio Sunday at the Village Vanguard (OJC 140) Charlie Parker Best of the Complete Savoy & Dial Recordings (Savoy 17120) Ornette Coleman The Shape of Jazz To Come (Rhino 1317) Count Basie Orchestra The Complete Atomic Basie (Blue Note 28635) Miles Davis Sketches of Spain (Legacy 65142) Clifford Brown/Max Roach Study in Brown (Emarcy 814 646) Art Blakey & the Jazz Messengers Moanin’ (Blue Note 95324) Herbie Hancock Maiden Voyage (Blue Note 95331) Stan Getz & Joao Gilberto Getz/Gilberto (Verve 314521414) Ella Fitzgerald Ella in Berlin (Verve 519 564) Eric Dolphy Out To Lunch (Blue Note 98793) John Coltrane A Love Supreme (Impulse! 314589945) Horace Silver Song For My Father (Blue Note 99002) Gerry Mulligan The Best of Gerry Mulligan with Chet Baker (Blue Note 95481) Billie Holiday & Lester Young A Musical Romance (Legacy 86635) Chick Corea Light As A Feather (Verve 827 148) Cannonball Adderley Somethin’ Else (Blue Note 95329) Dave Brubeck Quartet Time Out (Columbia 65122) Bud Powell The Definitive Bud Powell