DOCSLIB.ORG

The Big Band Theory: Unraveling the Mystery of the Jazz MPA Russ Weaver, B.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Big Band Theory: Unraveling the Mystery of the Jazz MPA Russ Weaver, B.M The Big Band Theory: Unraveling the Mystery of the Jazz MPA Russ Weaver, B.M. and Chris Sharp, Ph.D. FMEA clinic, January 2015 This clinic has been designed by actual FBA Jazz MPA judges to address issues commonly observed at district and state jazz MPAs over the past several years. The following strategies will help you avoid and/or overcome many of the pitfalls you may encounter on your way to a successful and musically enriching experience with your jazz ensemble. If you are new to jazz ensemble, you may be asking yourself: 1. Why do jazz band? a. Legacy – jazz is our only indigenous American art form. As music educators in the United States of America, we need to do everything we can to preserve and promote this music! b. Benefits 1) The jazz ensemble is essentially a large chamber group. In it, your players learn to be responsible for covering a musical part solely on their own, not doubled by other players. This ultimately results in stronger individual performers. 2) As in any chamber ensemble, listening is key in the jazz ensemble. Your students will develop a heightened sense of aural communication that will also be a benefit to your larger ensembles. 3) Should your students go on to become professional musicians, it is much more likely that they will be engaged as performers of commercial, jazz‐based styles than as career orchestral musicians. There are far more professional performance opportunities in styles such as top 40, funk, Broadway, Dixieland, rock tribute bands, big bands, theme park bands, small groups, club date bands, etc. Should they become musicians in the armed services, this diversity will help them secure positions in the more prestigious groups. 2. Getting started a. Don’t throw the whole book at your beginners! New styles (especially swing) are difficult concepts for players with little to no experience outside of the concert band. Straight eighth‐note styles such as rock and bossa nova work much better for developing players, and will allow them to first adjust to the jazz ensemble configuration with its heightened individual responsibilities. When you’re ready for the added challenge of swing style, consult the separation “Swing Interpretation” handout. b. Incomplete instrumentation 1) You may not be able to field a full band at the outset. Not to worry – many publishers offer jazz ensemble music with flexible instrumentation that can be performed with as few as three saxes, two trumpets, one trombone and rhythm section. 2) You may also consider combo charts, which can be performed with as few as three horns. Many combo arrangements also have flexible instrumentation and duplicated parts to accommodate different configurations. 3) Please DO NOT attempt to perform fully orchestrated arrangements with only a few players! This rarely sounds good. 4) If you find you have many more players than you need, avoid the temptation to double and triple parts. Extensive part doubling essentially robs your students of the chamber ensemble‐like experience. Either start a second ensemble, or rotate players in and out to keep it one‐on‐a‐part. c. Setting up your ensemble in the proper configuration: 1) Generally, the rhythm section should be set up (as you face the ensemble) to the left of the winds. The piano goes on the far left, turned so the player can easily see the conductor (open side to the ensemble for grand pianos). Acoustic piano is fine for most styles, but an electric keyboard that can produce organ sounds (e.g. Hammond B3) or Fender Rhodes‐type sounds will allow for much more stylistic flexibility, particularly in rock, funk, fusion, and rock ballad styles. 2) The guitar goes in front at the left end of the sax section with the amp behind and to the left. For traditional jazz styles, encourage the use of a proper, hollow‐ bodied jazz guitar, not a solid‐body rock guitar. Consider purchasing one for the school, if the resources are available. Some setups have the guitar in the “niche” of the grand piano. However line‐of‐sight (and communication) between the rhythm players can be obstructed in this configuration. 3) The drum set goes behind the guitar (in the niche of the grand piano, if used). 4) The bass player goes just to the right of the drum set, next to the hi‐hat so the player can lock into the back‐beat. The amp should be slightly behind and to the right. Having both an upright bass (straight‐ahead jazz, standards, etc.) and an electric bass (rock and funk) available for the player is ideal. 5) Winds, front row – saxophones in the following order from left‐to‐right: 1st tenor, 2nd alto, 1st alto, 2nd tenor, bari. 6) Winds, second row – trombones in the following order from left‐to‐right: 2nd (solo), 1st, 3rd, 4th. 7) Winds, third row ‐ trumpets in the following order from left‐to‐right: 2nd (solo), 1st, 3rd, 4th. 8) Line up the lead players (1st alto, 1st trombone, 1st trumpet) front‐to‐back so they can communicate style and intonation to each other. Section players should be trained to always listen up to the leads for style, tuning, note lengths, releases, etc. 9) Players most likely to get solo changes (1st tenor, 2nd trombone, 2nd trumpet) are located closest to the rhythm section for maximum communication. 10) Train trumpet players to lower their music stands and play over the top so the bells are up and the section can be heard. Do not allow them to blow directly into their stand. If they must have stands up, place the stand to the left of the player and have them direct their bells in the space between the stands. Trombone players do the reverse – stands go to the right of the players so slides can go in the space between the stands. 3. Selecting literature a. The right literature can make or break your performance. Things to look for: Properly notated rhythm section parts. If your pianist has no experience reading chord symbols, be sure voiced‐out chords and rhythms are provided, ideally with the chord symbols provided above. A well voiced‐out piano part can serve as a reference for performing other arrangements. For evaluations of the rhythm section writing in several commonly‐performed charts, we have developed a rubric that addresses specific criteria related to the content of each rhythm section part. For a sample of the results, please visit document we have prepared. It’s available on the website of Cyberwinds Music at this address: http://cyberwindsmusic.com/jazz‐education‐resources/ 1) Your guitarist may be provided with a generic chord chart. Most of the time, they will only get chord symbols. If you are not familiar with guitar, consider purchasing a book of jazz guitar voicings. There are several good ones available. Here’s a link to FJH Music’s online guitar chord voicing generator, an interactive tool that produces on‐the‐spot guitar voicings and fingering charts: http://www.fjhmusic.com/guitar/chords.htm 2) Be sure proper articulations are provided that are consistent throughout the ensemble. WARNING ‐ many published arrangements have improper or insufficient articulations! Unfortunately you cannot count on all published pieces to be written properly. See the provided list of recommended pieces to avoid this problem. 3) Arrangements of jazz standards, or originals written in jazz style are your best and most pedagogically sound choice for selections. No matter how much your kids might want to play them, avoid arrangements of pop tunes for MPA performances! If you must perform them, save those for your other concerts. 4) When programming for the Jazz MPA, seek out a variety of styles so your program has the expected level of variety. The major style groups include swing, rock or funk, Latin and ballads. Picking one of each from the categories is usually a safe bet. Including a swing chart is HIGHLY RECOMMENDED – avoiding this more challenging style completely will not serve your ensemble well. 5) Established band directors who have had successful jazz bands can be a great resource for literature recommendations. There are also lists of good, solid scholastic‐level jazz pieces available online – here are some from Don Zentz: http://jazzrepertoirelists.weebly.com/index.html 4. But…it’s not on the chart! As it is with much of art (classical) music, the elements of jazz style are not always printed on the music. There are certain practices that experienced jazz performers instinctively include when playing jazz. How are they learned? Mostly through listening, but here are some guidelines: a. Articulations 1) Jazz is a different language from art music. As such, it must be approached differently. Proper jazz articulations are a must. Here is a chart showing the four most commonly used articulations and how they differ in approach between the two styles: As you can see, the same symbol does not necessarily mean the same thing when used within the two different styles. In general, jazz articulations are more pronounced than those used in art music. Whereas the tongue release is not appropriate for most art music literature, it is often used in jazz to define the length of shorter‐duration notes. Be sure your players understand these style differences, and that performing jazz is a different mindset than that of performing art music. 2) Syllables – these are important! Use the following to produce proper jazz articulations: unaccented note = “dah”; accented note = “tah”; staccato note = “dit”; legato note = “doo”; marcato note = “taht”. These syllables translate into physical articulations that your players should apply directly to the instruments.
Load more

Recommended publications
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • Publicacion7135.Pdf
    BIBLIOTECA PÚBLICA DE ALICANTE BIOGRAFÍA Roy Haynes nació el 13 de marzo de 1925 en Boston, Massachusetts. A finales de los años cuarenta y principios de los cincuenta, Roy Haynes tuvo la clase de aprendizaje que constituiría el sueño de cualquier músico actual: sentarse en el puesto de baterista y acompañar al gran Charlie Parker. Ahora, cincuenta años después, y tras haber tocado con todos los grandes del jazz: Thelonius Monk, Miles Davis, o Bud Powell, todavía coloca sus grabaciones en la cima de las listas de las revistas especializadas en jazz. Este veterano baterista, comenzó su andadura profesional en las bigbands de Frankie Newton y Louis Russell (1945-1947) y el siguiente paso fue tocar entre 1947 y 1949 con el maestro el saxo tenor, Lester Young. Entre 1949 y 1952, formo parte del quinteto de Charlie Parker y desde ese privilegiado taburete vio pasar a las grandes figuras del bebop y aprender de ellas. Acompañó a la cantante Sarah Vaughan, por los circuitos del jazz en los Estados Unidos entre 1953 y 1958 y cuando finalizó su trabajo grabo con Thelonious Monk, George Shearing y Lennie Tristano entre otros y ocasionalmente sustituía a Elvin Jones en el cuarteto de John Coltrane. Participó en la dirección de la Banda Sonora Original de la película "Bird" dirigida por Clint Eastwood en 1988 y todavía hoy en activo, Roy Haynes, es una autentica bomba dentro de un escenario como pudimos personalmente comprobar en uno de sus últimos conciertos celebrados en España y mas concretamente en Sevilla en el año 2000. En 1994, Roy Haynes recibió el premio Danish Jazzpar, que se concede en Dinamarca.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Ortad. Y Indice
    a c i s ú m e d s a r o d a e r c creado ras de úsic a www.migualdad.es/mujer creadoras de úsic a © Instituto de la Mujer (Ministerio de Igualdad) Edita: Instituto de la Mujer (Ministerio de Igualdad) Condesa de Venadito, 34 28027 Madrid www.inmujer.migualdad.es/mujer e-mail: [email protected] Idea original de cubierta: María José Fernández Riestra Diseño cubierta: Luis Hernáiz Ballesteros Diseño y maquetación: Charo Villa Imprime: Gráficas Monterreina, S. A. Cabo de Gata, 1-3 – 28320 Pinto (Madrid) Impreso en papel reciclado libre de cloro Nipo: 803-10-015-2 ISBN: 978-84-692-7881-9 Dep. Legal: M-51959-2009 Índice INTRODUCCIÓN 9 EDAD MEDIA: MÚSICA, AMOR, LIBERTAD 13 Blanca Aller Nalda DAMAS Y REINAS: MUSICAS EN LA CORTE. RENACIMIENTO 29 Mª Jesús Gurbindo Lambán LABERINTOS BARROCOS 41 Virginia Florentín Gimeno MÚSICA, AL SALÓN. CLASICISMO 55 María José Fernández Riestra “COMO PRUEBA DE MI TALENTO”. COMPOSITORAS DEL SIGLO XIX 69 María Jesús Fernández Sinde TIEMPOS DE VANGUARDIA, AIRES DE LIBERTAD. LAS COMPOSITORAS DE LA PRIMERA MITAD DEL SIGLO XX 89 Gemma Solache Vilela COMPONIENDO EL PRESENTE. SONIDOS FEMENINOS SIN FRONTERAS 107 Ana Alfonsel Gómez Bibliografía y Discografía 125 Libreto 151 7 Introducción En el curso académico 2006-2007, siete profesoras de Música de Educación Secun- daria llevaron a cabo un proyecto que, tanto por su planteamiento pedagógico y didáctico como por su rigor, belleza e interés, llamó la atención del Instituto de la Mujer. Algunas de estas profesoras, que habían coincidido en un Tribunal de Oposiciones al Cuerpo de Profesorado de Enseñanza Secundaria por la especialidad de música, for - maron un Grupo de Trabajo para que el alumnado investigara la composición musi - cal también como obra femenina.
    [Show full text]
  • Carla Bley Wurde Im Kalifornischen Oakland Geboren Und Lebt Heute in Den Catskill Mountains Im US-Bundes- Staat New York
    Bley, Carla Carla Bley wurde im kalifornischen Oakland geboren und lebt heute in den Catskill Mountains im US-Bundes- staat New York. Mit verschiedenen Bands, kammermusi- kalischen Ensembles und Orchestern hat sie die ganze Welt bereist, vor allem Europa und Südostasien. Als „composer-in-residence“ war sie unter anderem beim Glasgow Festival und wurde in die Essener Philharmo- nie eingeladen. Biografie Carla Bley wurde am 11. Mai 1936 als Lovella May Borg in Oakland, Kalifornien, als Tochter zweier Musiker gebo- ren. Bei ihrem Vater Emil Borg erhielt sie ersten Klavier- und Orgelunterricht und begleitete bereits im Alter von vier Jahren Hochzeiten und Begräbnisse. Mit acht Jah- ren verweigerte sie jeden weiteren Unterricht (Carla Bley betrachtet sich selbst als Autodidaktin). Im selben Jahr starb ihre Mutter Arline Borg. Fünfzehnjährig brach sie die Schule ab und jobbte in einem Plattenladen. Zusätzli- ches Geld verdiente sie mit Auftritten in örtlichen Piano- Bars. Insbesondere die Musik Erik Saties, die sie zufällig Carla Bley im Radio gehört hatte, beschäftigte ihre Fantasie. Carla Bley 1957 verließ sie Kalifornien und ging nach New York, wo Geburtsname: Carla Lovella Borg sie sich Carla Borg nannte. In den einschlägigen Jazz- clubs der Stadt nahm sie diverse Jobs von der Zigaretten- * 11. Mai 1936 in Oakland, Kalifornien, USA verkäuferin bis zur Tischfotografin an, um so die großen Musiker live hören zu können: „That is where I learned Komponistin, Pianistin, Organistin, Bandleaderin, everything“, sagte sie über diese intensive Zeit, in der sie Improvisateurin, Arrangeurin, Musik-Verlegerin, alles wie einen Schwamm aufgesogen habe (Frank Oteri, Herausgeberin On Her Own. New York, 2003, S.
    [Show full text]
  • Winter 2018 Baltimore-Area Big Bands Abounding
    Winter 2018 Baltimore-Area Big Bands Abounding ................................................. 1 BALTIMORE JAZZ ALLIANCE Jam Sessions ....................................................................................... 2 Put Some Django In There ................................................................. 4 Seth Kibel presents Songs of Snark & Despai r...................................6 Message from the President ................................................................ 8 Behind the Scenes: 40 Years as a Jazz Agent .................................... 9 BJA Member Benefits and BJA Member Notes ................................ 10 Ad Rates and Member Sign-up Form ................................................ 11 VOLUME FOURTEEN • ISSUE ONE • THE BJA NEWSLETTER • WWW.BALTIMOREJAZZ.COM Baltimore Area BIG BANDS Abounding New World O-utreach Jazz Orchestra Ain’t Misbehavin’ Big Band Annapolis Junction Big Band Baltimore County Senior Swing Band Bayside Big Band Bel Air Community Jazz Ensemble The Big Band Theory of Baltimore Blue Moon Big Band Blues in the Night Orchestra Columbia Big Band Columbia Jazz Band Crabtowne Big Band Dale Corn & His Orchestra Dave Tucker & The Roaring Big Band Dr. Phill’s Big Band PHOTO COURTESY OF NEW WORLD OUTREACH JAZZ ORCHESTRA Don Arnold Big Band By Bob Jacobson Dunbar Alumni Jazz Band Goldenaires rumpeter Scott Stansfield heard Stan Kenton’s big band at Towson State College Hank Levy Legacy Band in 1983, when he was in sixth grade. In his subsequent school report Stansfield Jerry Peterson (a.k.a. Riverside) Big Band vowed to have a band like that someday. Two years ago he fulfilled his dream by Ken Ebo Jazz Orchestra starting the Melting Pot Big Band. Saxophonist Jim Quinlan has rehearsed with the Sen - The Melting Pot Big Band timental Journey Orchestra every Monday night for forty years (with a few exceptions T Mood Swings for vacations). At age ninety, trombonist Norma Allman leads the Never Too Late Band at Carroll Lutheran Village retirement community.
    [Show full text]
  • Moving the Big Band Online
    Moving the Big Band Online Preparing your students for the future: Capitalizing on the opportunities presented by remote learning. Handout - use your phone camera I. Rationale II. Historical context III. Inertia IV. Student-Driven Possibilities Dr. Derek Ganong V. Opportunities Assistant professor of applied trumpet VI. Ideas and Resources Director of Jazz Boise State University Technology ❖ We live in a digital society ❖ “The Shattered Screen” mentality ❖ What are employers really looking for? ❖ Digital Natives vs. Digitally Enabled - I am the Oregon Trail Generation How Can Digital Audio Workstation Software Enhance Learning? ★ Continuous Reflective Practice ★ More Opportunities for Student Ownership ★ More Opportunities for Collaboration ★ More Room for Creativity ★ Progress can be Planned/Systematic ★ Validation of Musicianship Fundamentals ★ A/V Technology Competency = Career Mobility Ask Yourself! ❖ What value does a jazz band provide to a music department? ➢ The director's perspective ❖ What value does a jazz band represent to a high school? ➢ The administrator’s perspective ❖ What value does a jazz band represent externally? ➢ The parent’s perspective Value assessment: It’s not a surprise that the majority of time spent in a jazz band class is spent preparing for the performance. Typical Director’s Internal Dialogue ❏ Can we get through the tunes without a trainwreck? ❏ Does it sound clean and rehearsed? ❏ Is it obvious that we are doing the typical things that are evident to adjudicators? ❏ Do our soloists sound OK ❏ Are the trumpet bells up(!) ❏ Where the heck is <insert essential ensemble member> ❏ Where the heck is your <item essential to instrument function> ❏ Do we have enough music for the concert? ❏ Did I leave the trumpets with enough gas for pep band...? Nothing on this list is student focused.
    [Show full text]
  • Music 2016 ADDENDUM This Catalog Includes New Sheet Music, Songbooks, and Instructional Titles for 2016
    Music 2016 HAL LEONARD ADDENDUM This catalog includes new sheet music, songbooks, and instructional titles for 2016. Please be sure to see our separate catalogs for new releases in Recording and Live Sound as well as Accessories, Instruments and Gifts. See the back cover of this catalog for a complete list of all available Hal Leonard Catalogs. 1153278 Guts.indd 1 12/14/15 4:15 PM 2 TABLE OF CONTENTS Sheet Music .........................................................3 Piano .................................................................53 Musicians Institute ............................................86 Fake Books ........................................................4 E-Z Play Today ...................................................68 Guitar Publications ............................................87 Personality .........................................................7 Organ ................................................................69 Bass Publications ............................................102 Songwriter Collections .......................................21 Accordion..........................................................70 Folk Publications .............................................104 Mixed Folios ......................................................23 Instrumental Publications ..................................71 Vocal Publications .............................................48 Berklee Press ....................................................85 INDEX: Accordion..........................................................70
    [Show full text]
  • Bauer Drops Skywalk Plan
    i happy and safu I Vol. 7, No. 46 The^festfielfhursday, November 23, 199d5 Record A Forbes Newspaper 50 cents Bauer drops skywalk plan Crowd still fights annex ay KEVIN comoAH But the first thing neighbors — and Board Chairman James Kefa- THE RECORD lontis — wanted was an amended Though he offered to drop per- site plan. That was something Mr. haps the most peculiar aspect of Bauer did not have. the proposed addition to his Kim- Kimball Avenue resident Pat ball Avenue home, local publisher Velderman, a witness for Mr. Wil- Kurt Bauer will have to come be- liams, informed the board the His- fore the Board of Adjustment yet torical Preservation Commission is again to complete his appeal of the considering a plan to designate a town's denial of his application. portion of Kimball Avenue — in- The owner of The Times of cluding Mr. Bauer's home — a his- Scotch Plains and the Westfield toric district. This move would re- Leader originally proposed to build strict the type of alterations prop- a two-story, 1,995 square-foot rect- erty owners could make to their angular building fronted by four homes. Mr. Velderman noted the Grecian columns. The new struc- Westfield Master Plan tabbed the ture would have been connected to area as a potential historic area. his current 1,650 square-foot Victo- "You can do sensitive additions rian cottage by an elevated walk- of a very large nature on houses way. The 18-foot-long skywalk that fit in," said Mr. Velderman. would be 6 feet 6 inches above a driveway which would run between Professional Preservation Plan- the original home and addition.
    [Show full text]
  • Carla Bley Trio
    Bûhem sedmé dekády minulého století absolvovala evropská turné Nadaãní fond PJF • AB Studio Praha • za finanãní podpory Carla Bley Trio s kapelou, kterou vedl Jack Bruce, ale po jejím rozpadu se zaãala vûno- Olomouckého kraje a Statutárního mûsta Pfierova vat vlastním projektÛm s ansámblem, ve kterém hráli mj. Gary Valen- Je to neuvûfiitelné, ale teprve po zhruba ãtyfiech desetiletích umû- XXIX. âESKOSLOVENSK¯ JAZZOV¯ FESTIVAL lecké kariéry vstoupí poprvé na ãeské pódium jedna z nejoriginálnûj- te, Tony Dagradi, Michael Mantler, Bob Stewart, Steve Slagle, D. Shar- ‰ích dam svûtové jazzové scény. Na Matûjské jazzové pouti 2012 pfied- pe a Steve Swallow. V následujících ‰esti letech koncertovala v Evropû, staví své trio pianistka, varhanice, skladatelka a umûlecká vedoucí Japonsku i ve Spojen˘ch státech a obohatila svou diskografii o nová komorních i velk˘ch kapel Carla Bley. alba (napfi. Dinner Music, European Tour 1977, Musique Mecanique, Social Studies). V osmdesát˘ch letech zaznamenala její rostoucí umûleckou prestiÏ pfiedev‰ím Evropa, ale její skladby zaznû- ly také na festivalu New Music America nebo na koncertech Spoleã- nosti pro komorní hudbu pfii Lincolnovû centru. V tomto období vyda- la dal‰í desky, jako napfi. Heavy Heart, I Hate To Sing, Night-Glo, Carla Carla, Sextet, Fleur Carnivore ad. Poté, co se na zaãátku devadesát˘ch let roze‰la s Michaelem Mant- lerem, pfierostlo její dosavadní partnerství se Stevem Swallowem rámec Matûjská jazzová pouÈ ryze hudebních sympatií. Ve svazku se skvûl˘m basistou a skladate- Bley lem proud její neutuchající kompoziãní invence je‰tû zmohutnûl, o ãemÏ – festivalov˘ prolog svûdãí jak big bandové nahrávky (The Very Big Carla Bley Band, Mûstsk˘ dÛm Pfierov – velk˘ sál Big Band Theory, The Carla Bley Big Band Goes to Church, Looking For America, Appearing Nightly, Carla’s Christmas NEDùLE 19.30 Carols), tak alba rÛzn˘ch komorních seskupení (napfi.
    [Show full text]
  • Big Band Group University of Greenwich
    University of Greenwich Big Band Group How it started: local hospices and other charities. We frequently help other local organisations with The University Big Band was formed in 1985 by concerts outside the University. some Thames Polytechnic staff, who had been playing in Jazz and Big Bands at Goldsmith Until 2019 the Bands were based at the Avery College. At that time Avery Hill College had Hill Mansion site, but when this site closed during 2020, a new music room was set up at the just became part of Thames Polytechnic, and it Sparrows Farm Building on the Southwood Site. provided an opportunity to start the Avery Hill The Covid situation delayed the development of Band with the support of the Avery Hill College the new music room and so rehearsals were not Music Department. We rely heavily on dedicated possible during most of 2020. We are now waiting professionals and amateurs from the local for the relaxing of the Covid restrictions to enable community. Formal music teaching was reduced rehearsals and concerts to start again for all the in the early 1990’s, but music has returned to band as we move into 2021 form part of the teacher training program at the Avery Hill Campus. In addition to the full Joining the Band - New players Big band there are also three other small If you are interested in playing the Big Band Music Jazz/Swing Bands within the University Big Group welcomes applications from staff and Band Group. students who would like to be part of the jazz Rehearsals take place at the Avery Hill experience - good music sight reading needed.
    [Show full text]
  • BIG BAND MUSIC: the Rise and Fall This Essay Discusses the Rise and Fall of Big Band Music
    BIG BAND MUSIC: The rise and fall This essay discusses the rise and fall of big band music. It includes a back ground to the music industry of the 30's and 40's, as well as a lengthy discussion on World War II and its side effects. 8 pages long. BIG BAND MUSIC INTRODUCTION Big band music solely occupied the Billboard Hot 100 charts, the world's most important music indicator, between 1930-1955 longer then any other style of music in the twentieth century. The only two runners up were Rock & Roll and Disco, which dominated the charts between 1956-1959 and 1976-1979 respectively. Despite these statistics, big band music fell and this study will attempt to explain the elements that led to its fall. This essay will begin with a description of the rise of big band music in order to provide the reader with a back ground to the music industry of the 30's and 40's. The discussion will focus on the fall of big band music and its association with World War II. ORIGINS Big Band music evolved out of the Jazz band era of the twenties. The 20’s experienced a talent boom producing musicians like Louis Armstrong, Duke Ellington, Jelly Roll Morton, Fats Waller, and King Oliver, amongst others, which coupled with the Harlem Renaissance, made available many musicians transforming the average five member Jazz bands into bigger bands. In fact the origins of big band comes from bands like Duke Ellington's enlarged band at the Cotton Club In Harlem, Earl Hines big band in Chicago, and Louis Armstrong at the Savoy in Harlem.
    [Show full text]