Holiday Programming 2008
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INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC SIXTH FESTIVAL/CONFERENCE Improvisation · Self · Community·World February 16-19, 2012 William Paterson University Wayne, New Jersey, USA Keynote artists and performers: Pyeng Threadgill & trio Ikue Mori, Sylvie Courvoisier & Jim Black Mulgrew Miller WyldLyfe Robert Dick & Tom Buckner Karl Berger with the University of Michigan Creative Arts Orchestra And over 50 other artists presenting concerts, panels, talks and workshops! ISIM President’s Welcome ISIM President’s Welcome On behalf of the Board of Directors of the International Society for Improvised Music, I extend to all of you a hearty welcome to the sixth ISIM Festival/Conference. Nothing is more gratifying than gatherings of improvising musicians as our common process, regardless of surface differences in our creative expressions, unites us in ways that are truly unique. As the conference theme suggests, by going deep within our reservoir of creativity, we access subtle dimensions of self—or consciousness—that are the source of connections with not only our immediate communities but the world at large. It is dificult to imagine a moment in history when the need for this improvisation-driven, creativity revolution is greater on individual and collective scales than the present. Please join me in thanking the many individuals, far too many to list, who have been instrumental in making this event happen. Headliners Ikue Mori, Pyeng Threadgill, Wyldlife, Karl Berger, the University of Michigan Creative Arts Orchestra, the William Paterson University jazz group, Mulgrew Miller, Robert Dick, and Thomas Buckner—we could not have asked for a more varied and exciting line-up. ISIM Board members Stephen Nachmanovitch and Bill Johnson have provided invaluable assistance, with Steve working his usual heroics with the ISIM website in between, and sometimes during, his performing and speaking tours. -
The Aging Audience
________________________________________________________________________________________________ Walrus Research The Aging Audience Spring 2009 Reality has a way of eventually getting your attention GENERATIONAL COHORTS Garrison Keillor, who does his show in front of a live audience, has observed Listeners are highly that each year he sees more balding grey heads out there. concentrated among the Baby Boomer population, and are Yet if Terry Gross, Robert Siegel, Scott Simon or Tom and Ray Magliozzi could much more educated than the have seen their listeners over the years, they would have observed the same average U.S. citizen, with process. The public radio audience continues to age. 69% having a college degree. Demographers use the term cohort to mean a set of people who were born at These factors in turn drive a the same time and go through formative experiences together. In a pure cohort level of household income phenomenon, such as a high school class reunion, the median age increases one that is also well above the national average. year each year. The number of attendees can only decrease. NPR Audience Handbook The most famous generational cohort is the Baby Boomers, born 1946 – 1964, October 2009 who came of age during the years of Vietnam, hippies and underground FM radio. The audience for National Public Radio has long been dominated by highly educated Boomers. On January 1, 2010, the oldest Boomer will turn 64 years old. Walrus Research 2 DESIGN Research Questions • At what rate is the public radio audience aging? AudiGraphics • Does aging differ among public radio formats? To answer the research questions, we used AudiGraphics. -
Tim Russell 31 the Explanation for Everything the Ludwig Conspiracy Latino Americans
HIGHBRIDGEHIGHBRIDGE AUDIOAUDIO Fall 2013 HIGHBRIDGEHIGHBRIDGE AUDIOAUDIO FallFall 20132013 COMING THIS FALL FROM HIGHBRIDGE CONTENTS NOW AVAILABLE BRINGING MULLIGAN HOME Fall 2013 ARTFUL NEW RELEASES 2 JUNIUS AND ALBERT’s aDVENTURES in THE CONFEDERACY DIGITAL CLASSICS 46 KILL ANYTHING THAT MOVES HER RECENT TITLES 50 THE PHILADELPHIA CHROMOSOME RENDEZVOUS INDEX 52 INSIDE THE BOX PERMANENT PRESENT TENSE IN TIMES OF FADING LIGHT DETROIT JULY 27 THE LONGEST ROAD AUGUST AMAZING GRACIE THE ESPERANZA FIRE THE CHAOS IMPERATIVE THE INTROVERT ADVANTAGE THE ROAD FROM GAP CREEK NPR AMERICAN CHRONICLES: EXPLORING SPACE THE TIME FETCH 19 IF YOU COULD BE MINE SEPTEMBER SOMEBODY UP THERE HATES YOU EVIL EYE TIM RUSSELL 31 THE EXPLANATION FOR EVERYTHING THE LUDWIG CONSPIRACY LATINO AMERICANS OCTOBER ANTON AND CECIL: CATS AT SEA 21 THE STAR OF ISTANBUL NPR MORE TINSEL TALES SURVIVAL LESSONS GUESTS ON EARTH TIES THAT BIND NOVEMBER YOU ARE NOT FORGOTTEN THE HUNTER AND OTHER STORIES PURGATORY 37 THE TELL JANUARY RED 1-2-3 24 REAL HAPPINESS AT WORK FEBRUARY LION PLAYS ROUGH © 2013 HighBridge Company Cover photograph © Getty Images. AVAILABLE NOW Bringing Mulligan Home THE OTHER SIDE OF THE GOOD WAR Dale Maharidge Read by Pete Larkin A son’s quest to find the members of his father’s Marine company leads to a deeper understanding of the devastating Pacific battles of WWII, and the haunted men who came home. Sgt. Steve Maharidge, like many of his generation, hardly Simultaneous release with ever talked about the war. The only sign he’d served in it PublicAffairs hardcover 9781586489991 was a single black-and-white photograph of himself and n Of appeal to veterans, history buffs, another soldier tacked to the wall of his basement, where and those interested in the effects of he would grind steel. -
Jazz in the Pacific Northwest Lynn Darroch
Advance Praise “Lynn Darroch has put together a great resource for musicians, listeners, and history buffs, compiling what seems to be the most comprehensive resource about the history of jazz in the Northwest. This book will do the important job of keeping the memories and stories alive of musicians and venues that, while they may be immortalized through recordings, have important history that may otherwise be lost to the murkiness of time. Darroch has done the community and the music a great service by dedicating himself to telling these stories.” —John Nastos “Lynn Darroch illuminates the rich history of jazz in the Pacific Northwest from the early twentieth century to the present. Interweaving factors of culture, economics, politics, landscape, and weather, he helps us to understand how the Northwest grew so many fine jazz artists and why the region continues to attract musicians from New Orleans, New York, California, Europe, and South America. He concentrates on the traditions of the big port cities, Seattle and Portland, and underlines the importance of musicians from places like Wenatchee, Spokane, Eugene, and Bend. Darroch has the curiosity of a journalist, the investigative skills of a historian and the language of a poet. His writing about music makes you want to hear it.” —Doug Ramsey “With the skills of a curator, Lynn Darroch brings us the inspiring history and personal stories of Northwest jazz musicians whose need for home, love of landscape, and desire to express, all culminate into the unique makeup of jazz in Portland and Seattle. Thank you Lynn for a great read and its contribution to jazz. -
THE FIRST FORTY YEARS INTRODUCTION by Susan Stamberg
THE FIRST FORTY YEARS INTRODUCTION by Susan Stamberg Shiny little platters. Not even five inches across. How could they possibly contain the soundtrack of four decades? How could the phone calls, the encounters, the danger, the desperation, the exhilaration and big, big laughs from two score years be compressed onto a handful of CDs? If you’ve lived with NPR, as so many of us have for so many years, you’ll be astonished at how many of these reports and conversations and reveries you remember—or how many come back to you (like familiar songs) after hearing just a few seconds of sound. And you’ll be amazed by how much you’ve missed—loyal as you are, you were too busy that day, or too distracted, or out of town, or giving birth (guess that falls under the “too distracted” category). Many of you have integrated NPR into your daily lives; you feel personally connected with it. NPR has gotten you through some fairly dramatic moments. Not just important historical events, but personal moments as well. I’ve been told that a woman’s terror during a CAT scan was tamed by the voice of Ira Flatow on Science Friday being piped into the dreaded scanner tube. So much of life is here. War, from the horrors of Vietnam to the brutalities that evanescent medium—they came to life, then disappeared. Now, of Iraq. Politics, from the intrigue of Watergate to the drama of the Anita on these CDs, all the extraordinary people and places and sounds Hill-Clarence Thomas controversy. -
Read Liner Notes
Cover Photo: Paul Winter Consort, 1975 Somewhere in America (Clockwise from left: Ben Carriel, Tigger Benford, David Darling, Paul Winter, Robert Chappell) CONSORTING WITH DAVID A Tribute to David Darling Notes on the Music A Message from Paul: You might consider first listening to this musical journey before you even read the titles of the pieces, or any of these notes. I think it could be interesting to experience how the music alone might con- vey the essence of David’s artistry. It would be ideal if you could find a quiet hour, and avail yourself of your fa- vorite deep-listening mode. For me, it’s flat on the floor, in total darkness. In any case, your listening itself will be a tribute to David. For living music, With gratitude, Paul 2 1. Icarus Ralph Towner (Distant Hills Music, ASCAP) Paul Winter / alto sax Paul McCandless / oboe David Darling / cello Ralph Towner / 12-string guitar Glen Moore / bass Collin Walcott / percussion From the album Road Produced by Phil Ramone Recorded live on summer tour, 1970 This was our first recording of “Icarus” 2. Ode to a Fillmore Dressing Room David Darling (Tasker Music, ASCAP) Paul Winter / soprano sax Paul McCandless / English horn, contrabass sarrusophone David Darling / cello Herb Bushler / Fender bass Collin Walcott / sitar From the album Icarus Produced by George Martin Recorded at Seaweed Studio, Marblehead, Massachusetts, August, 1971 3 In the spring of 1971, the Consort was booked to play at the Fillmore East in New York, opening for Procol Harum. (50 years ago this April.) The dressing rooms in this old theatre were upstairs, and we were warming up our instruments there before the afternoon sound check. -
The Cathedral Gives Back
Winter 2017–18 1047 Amsterdam Avenue Volume 16 Number 75 at 112th Street New York, NY 10025 (212) 316-7540 stjohndivine.org 2017 Winter –18 at the Cathedral The Cathedral Gives Back or where your treasure is, there your the Cathedral. I want to be able to do more than just talk In addition to our own programs, the Cathedral has also long heart will be also.” The Right Reverend about the things we believe in here, but also show our beliefs partnered with other mission-aligned community organizations Dan Daniel quoted Jesus’s Sermon on in action. We do this through our programs—Cathedral to support their work, something Dean Daniel wants to continue the Mount when asked about the Community Cares, Adults and Children in Trust, and the myriad to emphasize in our public programs. Longtime readers of this Cathedral’s commitment to tithing. of events that help underserved populations, but also through newsletter will recall the Cathedral’s collaboration with Broadway Typically seen as a way for people of donating to causes that we believe in.” Cares/Equity Fights AIDS to produce staged readings of Joan faith to give back to the church, Dean Didion’s haunting A Year of Magical Thinking and Blue Nights, The Cathedral has a long tradition of social outreach and Daniel takes the tradition a step further, the proceeds from which benefited UNICEF and The United commitment to community. Cathedral Community Cares (CCC) viewing it as a sacred obligation for the Nations Relief and Works Agency for Palestine Refugees in the works to combat and alleviate poverty through preventive F Cathedral to give back to the community. -
Concert Booklet April 22, 2017
North Shore Choral Society ©Virginia O. Roeder Missa Gaia-Earth Mass April 22, 2017 Unitarian Church of Evanston Evanston, Illinois Julia Davids, Music Director with Evanston Children’s Choir Thomas R. Jefferson, piano Felicia Patton, soprano Guabina Chiquinquirena ....................... Daniel Bayona Posada, arr. D.Wallenberg A Red, Red Rose ........ Robert Burns, text; James Mulholland, music; arr. G.Geiger Some Nights ........................ J.Bhasker, A.Dost, J.Antonoff, N.Ruess, arr.Mac Huff Amani (Peace) ..................................................................................... Jim Papoulis Evanston Children’s Choir Gary Geiger, director Hyejin Joo, accompanist ~ Intermission ~ Missa Gaia – Earth Mass Paul Winter, Jim Scott, Paul Halley, Oscar Castro-Neves, Kim Oler Canticle of Brother Sun (Audience joins chorus; music in Text and Translation) Kyrie The Beatitudes Sound Over All Waters .......................................................................... Paul Halley Sanctus and Benedictus His Eye Is on the Sparrow ........................................................ Traditional Spiritual Agnus Dei Ubi Caritas ............................................................................................. Paul Halley The Blue Green Hills of Earth (Audience joins chorus; music in Text and Translation) Let Us Depart in Peace (Audience joins chorus; music in Text and Translation) TEXT AND TRANSLATION CANTICLE OF BROTHER SUN “Having decided to dedicate the Earth Mass to St. Francis … I wanted to create a piece based on his ‘Canticle of Brother Sun.’” Paul Winter All praise be yours through Brother Sun. All praise be yours through Sister Moon. By Mother Earth my Lord be praised, by Brother Mountain, Sister Sea. Through Brother Wind and Brother Air, through Sister Water, Brother Fire; The stars above give thanks to thee; all praise to those who live in peace. All praise be yours through Brother Wolf, all praise be yours through Sister Whale. -
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Rj[-Y rA]|tr,, TOlIl. ffiACHOIII : GEf sl;n[LI!,AUIO,O$fllIRS|H, :OEAR IlilIII ilUT$AilDlBOITF CAN TAIK , \. h E\ -,"*lf*XK ,\'\ f,".' l"Every cor eventuolly ends up in o iunkyord, no motter how well you toke core of it " soys Tom, right, next to Roy. lJ he voice isn't speaking in the hushed. simply a laugh. The Tappet Brothers-in but they couldn't find the problem. I chamber-music tones lamiliar to Na- real life, Tom and Ray Magliozzi-will Ray: "I'm gonna make the noise for tional Public Radio listeners. "Though supply all three during the hour to come. you. Woooooooo." your relatives wouldn't approve, you are In a weekly program reaching an estimat- Joanne says thal's the noise. in fact listening to us, Click and Clack, ed I million listeners, Tom,52, and Ray, Ray: "It's a bad front-wheel bearing. the Tappet Brothers," the voice cackles 40, fleld questions dealing with every- But let's not assume it's in the front. happily over the airwaves. "Don't touch thing from engine noise to bumper rust. Noises can fool you. It can easily be the that dial oryour dipstickwill fall out!" A There is no script; every line is off-the- rear-wheel bearing as well." chorus of ha-ha-has follows, then the cuff, and many are off-the-wall. Almost A woman named Bertha complains strains of hoedown banjo music. all are right on target. about a year-old Toyota "with a lot of That's Car Talkyou're listening to, Na- A woman named Joanne phones about noise coming from the back." tional Public Radio's callin show for auto a Pontiac that makes a roaring noise. -
WMRA Holiday Broadcast Schedule 2004
WMRA Holiday Broadcast Schedule 2004 Winter Solstice Celebration, this year with a decidedly Russian flavor: The Dmitri Pokrovsky Ensemble-Russian village dancers Tuesday, Dec. 7th and singers-- joins African mbira master Chris Berry and the famous Paul Winter Consort. They'll lead our "Journey Through 7pm A Taste of Chanukah the Longest Night" with new works and old favorites including "Dancing Day," the West African "Minuit" and Paul Winter's This celebration of Chanukah features over 150 musicians from "Icarus." Wolves, whales and the audience in New York's the New England Conservatory, the Boston Community Choir Cathedral of St. John the Divine join in with holiday glee. 2 and other ensembles. The show is recorded live at the New hours. England Conservatory’s Jordan Hall in Boston. 1 hour. 10pm The Christmas Revels: A Celebration of the Winter Solstice Wednesday, Dec. 8th The Christmas Revels: A Celebration of the Winter Solstice 2004 7pm Chanukah in Story and Song is an all-new compilation of carols, rounds, drinking songs, music-hall numbers, madrigals and motets, children's singing A Chanukah celebration featuring The Western Wind and games, wassails, and traditional, social, and ritual dance tunes, narrated by Leonard Nimoy. They will present many eclectic selected from the nine live Christmas Revels performances that selections, from the Ladino songs of the Spanish Jews and took place around the country last year. 2 hours. Yiddish melodies of Eastern Europe to modern Israeli tunes. 1 hour. st Tuesday, Dec. 21 Thursday, Dec. 9th 7pm Christmas at El Pardo 7pm Chanukah Lights Christmas at El Pardo presents a magnificent hour-long concert of Father Antonio Soler's Christmas villancicos (songs) with brief A collection of readings that explore Chanukah traditions in interludes of plain chant. -
Guest Artist Recital: Paul Hanson, Bassoon Paul Hanson
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-5-2002 Guest Artist Recital: Paul Hanson, bassoon Paul Hanson Steve Brown Brian Krauss Tom Kline Adam Kurland Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Hanson, Paul; Brown, Steve; Krauss, Brian; Kline, Tom; and Kurland, Adam, "Guest Artist Recital: Paul Hanson, bassoon" (2002). All Concert & Recital Programs. 2520. https://digitalcommons.ithaca.edu/music_programs/2520 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. VISITING ARTISTS SERIES 2002-3 "Improvisation and You" PAUL HANSON, BASSOON Assisted by: Steve Brown, guitar Brian Krauss, bass Tom Kline, drums Adam Kurland, piano Anchors Paul Hanson Yam Spinner Paul Hanson Flight Of The Fly Jacob De Badolim We'll Be Together Again Carl Fischer ~ olo Improvisation Paul Hanson Gingerbread Boy Miles Davis arranged by Paul Hanson INTERMISSION Voyage Kenny Barron Woods Of Red Paul Hanson Everybody's Party John Scofield Pedra Da Lua Toninho Horta Fee-Fi-Fo-Fum Wayne Shorter Hockett Family Recital Hall Tuesday, November 5, 2002 8:15 p.m. PROGRAM NOTES Anchors This is a tune I wrote for my first Japanese album in 1993. It was inspired by some of the writings of the classical-jazz fusion group Oregon, which of course features the great jazz oboist, my friend Paul McCandless. Like a lot of Oregon's music, the groove for this tune is straight 16ths. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.