Spring 2013 Cat Enti a Edi Ng N D Th I Is E Zz Board of Directors T Ve Ja a Ry Best in H T T I President F O Tim Coakley R
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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. -
2003 12-10:30 Pm the Following Volunteers Are Largely Responsible for the Successful Operation of the Festival
Michi an Festival Schoolcraft College July 20, 2003 12-10:30 pm The following volunteers are largely responsible for the successful operation of the festival. They are wearing navy blue T-shirts and will assist you in finding your way to your favorite performances, dining, the Jazz Walk and Steinway Jazz Cafe. Just ask! Enjoy! Richard Aja Jim Gumley Shroyer Family Rose Apple Carol & Fritz Patti Smith Molly Berkau Hansen Betty Smolinski Phyllis Berryman Jeanette Harris Dave, Carol & John Brady Pat Hill Travis Sneary Robin Bringard Kristin Hoy Lynne Standley- Ryan Mary Beth Busto Paul Hunt Ray & Shirley Jack Campau Karen Kendall Steinke Judi Cartright Barbara Lawlor Sam & Bonnie Ted & Liz Janie Clark Stock Linderman Jim & Sharon Mary Ann Edward Methot Cooper Sutherland Ken Murray Mary Ann Cripps Barbara Taylor Jim Newman Deborah Dani Jean & Karen Peter Davis Marcel Niemiec Tomalis Brenda & Fred Cindy Pierson Tom Tomczak Durling Kristin & Pat Linda & Steve Van Michele Elias Prouty Haverbeke M.J. Falls Arnie Robinson Fred Welsh Joyce Galindo Catherine Sailus Marlene Werts Anne Gallagher Joan Schott Marnee Westberg Chris Geinzer Dianne See Patricia Wheatley Nancy Gillis Mary Sen Bob, Betty & Ann Zimmerman Charles & Louise David Sharpe Greenwald Salute to Jack Pierson The Pied Piper of Jazz Just mention Jack Pierson's name to a group of jazz fans and someone will always tell you they were in one of his bands at Fordson High School, Henry Ford Community College or Schoolcraft College. These students follow him around as though he was the Pied Piper. They love playing for him, admire him and say they never fail to learn something .1_ new each time. -
Blue Note Iis Musicianship the FINEST in JAZZ RALPH J
and willuighcu z can show. er-an anger By. blue note iis musicianship THE FINEST IN JAZZ RALPH J. GLEASON mire his troin- SINCE 1939 I his solos here (San Francisco Chronicle) ce chances and Band—Duke 1111ngtr sonni clârk resting solos in Miles Davis. is going to lie ■ conception u! rhythm section, >eems Io me tar I enor Sax—John Coltrane (James a teal alliance Clay) . Baritone Sax — Harry Carney (No choice) . Clarinet- Orleans No choice (No choice) . Piano— ESTREETS THE GRAS—Folk »ay । Ei loll (.arner (Red Garland) . Bass—Paul Chambers (Scott LaFaro) it cries (veritable A lone and Timet . Guitar ■ Alexander); Street ph); Liebestraum Montgomery ) Drums Mean Old Trite a-Bac-A-Way, Tht SONNY CLARK ' Blue Coot, Tht Cool Strvtttn* with Art Farmer, Jackie Me .Milt Jackson (Budch Montgomery) RELAXIN' WITH THE nd "The Indians" Lean, Paul Chamber», "Philly” Joe Jones. ("Hank”); Bour- . .Malt Singer—Louis Armstrong, MILES DAVIS QUINTET FRLP 7129 Cool Sfruffin'. Blue Minor, Sippin' al Belli ■ of The Krewe of Flank Sinatra (No choice) . Fe MORE OF THE FABULOUS "COOKIN' " SET YOU Go Marching It, Deep Night. LIKtC SO MUCH' RELAXIN' WITH THE MILES e (various street BLUE NOTE 1588 male Singer—Sarah Vaughan (Ernes DAVIS QUINTET is one of the most informally ac tine Andri son). curate definitions of jazz recorded in some time". Nat Hentoff: Noted Jou Critic As time goes on, it seems to me, BRASS BAND- MORNIN' LONG (reheartall, Troth that the stature ol Ellington grows REO GARLAND QUINTET r To Stay Hert, aryland My Mary inexorably while the promise that is inherent in others frequently dies . -
Acoustic Sounds Catalog Update
WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet. -
January and February
VIETNAM VETERANS OF AMERICA Office of the National Chaplain Taps January/February 2015 ERIC C. ADAMS - Died Friday, September 26, 2014 at Duke Raleigh Hospital in Raleigh, North Carolina at the age of 67. He was a resident of Raleigh and formerly of Jay, New York. The cause of death is unknown. He was born to the late Ralph and Alice (née McDonald) Adams of Jay, New York on September 10, 1947. He received his early education in a two-room school house in Jay and graduated in 1965 from AuSable Forks High School, Au Sable Forks, NY. Upon graduating Eric volunteered to serve his country in the United States Army. He was first trained as a Construction Engineer at Fort Leonard Wood, Missouri, then at Fort Riley, Kansas trained in carpentry. He served the next 13 months in Vietnam. Upon his return from Vietnam he married Elaine Furnia, his high school sweetheart, on July 29, 1967. He was a retired maintenance mechanic with Cornell University. Eric was an active member of Northside Community Church in Knightdale, NC and until his health declined assumed many roles as usher, greeter, janitor and painter. He was always willing to help wherever he was needed. He was an At-Large Member of Vietnam Veterans of America – North Carolina. Eric leaves behind his mother Alice Adams of Plattsburg; wife, Elaine; daughters: Carrie (Jay) of Lake Royale, Jaime (Scott) Rose of Wendell and son Eric (Tami) of Gatlinburg, TN; grandchildren: Breanna and Garrett Bassett, Karl Golden, Brennen and Liam Rose; brother, Ralph Adams of Jay, NY; sister, Madeline (Gary) Senecal of Peru, NY. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
New World NW 271 Jazz Historians Explain the Coming of Bebop—The Radically New Jazz Style That Established Itself Toward
Bebop New World NW 271 Jazz historians explain the coming of bebop—the radically new jazz style that established itself toward the end of World War II—as a revolutionary phenomenon. The motives ascribed to the young pioneers in the style range from dissatisfaction with the restrictions on freedom of expression imposed by the then dominant big-band swing style to the deliberate invention of a subtle and mystifying manner of playing that could not be copied by uninitiated musicians. It has even been suggested that bebop was invented by black musicians to prevent whites from stealing their music, as had been the case with earlier jazz styles. Yet when Dizzy Gillespie, one of the two chief architects of the new style, was asked some thirty years after the fact if he had been a conscious revolutionary when bebop began, his answer was Not necessarily revolutionary, but evolutionary. We didn't know what it was going to evolve into, but we knew we had something that was a little different. We were aware of the fact that we had a new concept of the music, if by no other means than the enmity of the [older] musicians who didn't want to go through a change.... But it wasn't the idea of trying to revolutionize, but only trying to see yourself, to get within yourself. And if somebody copied it, okay! Were he able, the other great seminal figure of bebop, alto saxophonist Charlie Parker, would probably amplify Gillespie's opinion that the new music arose from inner needs rather than external factors. -
THE APOLLO THEATER and OPERA PHILADELPHIA PARTNER to PRESENT NEW YORK PREMIERE of CHARLIE PARKER’S YARDBIRD STARRING LAWRENCE BROWNLEE, APRIL 1 and 3, 2016
THE APOLLO THEATER AND OPERA PHILADELPHIA PARTNER TO PRESENT NEW YORK PREMIERE OF CHARLIE PARKER’S YARDBIRD STARRING LAWRENCE BROWNLEE, APRIL 1 and 3, 2016 First opera performances in Apollo Theater history, and first NYC appearance by Opera Philadelphia led by Maestro Corrado Rovaris Tuesday, December 8, 2015−The Apollo Theater and Opera Philadelphia announced today that Charlie Parker’s YARDBIRD will have its New York premiere in a co-production between the two institutions, April 1 and 3, 2016. The engagement marks the first time opera will be seen on the Apollo Theater stage, and the first time Opera Philadelphia will play New York. Set in the famed Birdland jazz club on March 12, 1955, the day Charlie Parker died, the opera invites audiences directly into the mind and heart of the great saxophonist as he composes his final masterpiece, and revisits the inspirations, demons, and women who fueled his creative genius. The New York premiere reunites Lawrence Brownlee, the “energetic, bright-voiced tenor” (The New York Times) in the lead role as the legendary jazz saxophonist, with much of the original cast alongside Maestro Corrado Rovaris and the Opera Philadelphia Orchestra, who performed the work’s world premiere to five sold-out audiences in June. Parker had a rich history with the Apollo and performed at the Theater many times, beginning in 1943 with the Earl Hines Orchestra—including Little Benny Harris, Dizzy Gillespie, and Charlie “Yardbird” Parker. During his many engagements at the Apollo, Parker developed the bebop style and also experimented with classical and other musical forms. -
Primary Sources: an Examination of Ira Gitler's
PRIMARY SOURCES: AN EXAMINATION OF IRA GITLER’S SWING TO BOP AND ORAL HISTORY’S ROLE IN THE STORY OF BEBOP By CHRISTOPHER DENNISON A thesis submitted to the Graduate School-Newark Rutgers University, The State University of New Jersey In partial fulfillment of the requirements of Master of Arts M.A. Program in Jazz History and Research Written under the direction of Dr. Lewis Porter And approved by ___________________________ _____________________________ Newark, New Jersey May, 2015 ABSTRACT OF THE THESIS Primary Sources: An Examination of Ira Gitler’s Swing to Bop and Oral History’s Role in the Story of Bebop By CHRISTOPHER DENNISON Thesis director: Dr. Lewis Porter This study is a close reading of the influential Swing to Bop: An Oral History of the Transition of Jazz in the 1940s by Ira Gitler. The first section addresses the large role oral history plays in the dominant bebop narrative, the reasons the history of bebop has been constructed this way, and the issues that arise from allowing oral history to play such a large role in writing bebop’s history. The following chapters address specific instances from Gitler’s oral history and from the relevant recordings from this transitionary period of jazz, with musical transcription and analysis that elucidate the often vague words of the significant musicians. The aim of this study is to illustratethe smoothness of the transition from swing to bebop and to encourage a sense of skepticism in jazz historians’ consumption of oral history. ii Acknowledgments The biggest thanks go to Dr. Lewis Porter and Dr. -
Drummerissue
APRIL 2016—ISSUE 168 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM drumMER issue BILLYBILLY COBHAMCOBHAM DRUMDRUM SPECTRUMSPECTRUM DAVE CHAD BERNARD DONALD WECKL TAYLOR PURDIE BAILEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2016—ISSUE 168 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Dave Weckl 6 by ken micallef [email protected] Andrey Henkin: [email protected] Artist Feature : Chad Taylor 7 by ken waxman General Inquiries: [email protected] On The Cover : Billy Cobham 8 by john pietaro Advertising: [email protected] Encore : Bernard Purdie by russ musto Editorial: 10 [email protected] Calendar: Lest We Forget : Donald Bailey 10 by donald elfman [email protected] VOXNews: LAbel Spotlight : Amulet by mark keresman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above FESTIVAL REPORT or email [email protected] 13 Staff Writers CD Reviews 14 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Miscellany 36 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Event Calendar Tom Greenland, Anders Griffen, 38 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, As we head into spring, there is a bounce in our step. -
Earl Rudolph Powell “Bud”
1 The PIANO of EARL RUDOLPH POWELL “BUD” Solographers: James Accardi & Jan Evensmo Last update: June 3, 2020 2 Born: NYC. Sept. 27, 1924 Died: NYC. Aug. 1, 1966 Introduction: Oslo Jazz Circle was originally based on the swing era (with Chu Berry as the primary idol), but a heavy minority managed to achieve equally high status for bebop and other modern forms. Bud Powell was discovered early, and personally I bought my first Blue Note LPs as a teenager. Bud Powell also played in Metropol Jazzclub, Oslo, Sept. 24-27 with Bjørn Pedersen (b), Jon Christensen (dm). I wa s there and remember how he looked ahead with a glassy stare when playing, almost like he did not know where he was. But sometimes he looked at his watch to the right of the keyboard, and after 45 minutes he stopped abruptly, even if the tune was not finished! An unforgettable experience for all of us! History: From 1940 BP took part in informal jam sessions at Minton’s Playhouse, New York, where he came under the tutelage and protection of Thelonious Monk and contributed to the emerging bop style. By 1942-44, when he played in the band of Cootie Williams, he had already developed his individual style in most of its essentials. After sustaining a head injury during a racial incident in 1945, he suffered the first of many nervous collapses, which were to confine him to sanatoriums for much of his adult life. Thereafter, in the late 1940s and early 1950s, he appeared intermittently in New York clubs with leading bop musicians or in his own trio. -
Fall 2013 Cat Enti a Edi Ng N D Th I Is E Zz T Ve Ja a Ry Best in Board of Directors H T T I F O R P President
ening s l lis pace ifu . ut ea ted to pre e b Fall 2013 ica ntin a ed g t in d h is e zz t ve Ja a ry be t in Board of Directors h t t o r p President - r Tim Coakley o From f - the o Treasurer n President Don Nania A Off and Swinging! Secretary Jerry Gordon The 2013 season of A Place for Jazz will get off to a dynamic start on September 20 with a fiery quintet co-led by trumpeter Joe Magnarelli and tenor saxophonist Jerry Weldon. These two have performed on their own several times in the Capital Region Al Brooks but this time they will join forces for an evening of hard-hitting and lyrical music. A Syracuse native, Joe Magnarelli moved to New York City in 1986 and soon became a regular participant in the New York and international jazz scene. From 1987, he Beverly Elander toured and recorded with Lionel Hampton and Brother Jack McDuff. He currently has nine records out as a leader, and has played on numerous jazz labels as a sideman. In 1990, he was a semifinalist at the Thelonious Monk International Trumpet Com- Al Haugen petition in Washington, D.C. He made his debut as a leader with 1994’s “Why Not” (Criss Cross). He followed that with three other CDs on the Criss Cross label: “Always There” (1997), “Mr. Mags” (2000) and “Hoop Dreams” (2005). Anita Haugen He subsequently released “Persistence” (2007) and “My Old Flame” (2010), his first big band recording as a leader.