23Rd Annual ISU Jazz Festival
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Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads. -
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney. -
Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
Michael Brecker Chronology
Michael Brecker Chronology Compiled by David Demsey • 1949/March 29 - Born, Phladelphia, PA; raised in Cheltenham, PA; brother Randy, sister Emily is pianist. Their father was an attorney who was a pianist and jazz enthusiast/fan • ca. 1958 – started studies on alto saxophone and clarinet • 1963 – switched to tenor saxophone in high school • 1966/Summer – attended Ramblerny Summer Music Camp, recorded Ramblerny 66 [First Recording], member of big band led by Phil Woods; band also contained Richie Cole, Roger Rosenberg, Rick Chamberlain, Holly Near. In a touch football game the day before the final concert, quarterback Phil Woods broke Mike’s finger with the winning touchdown pass; he played the concert with taped-up fingers. • 1966/November 11 – attended John Coltrane concert at Temple University; mentioned in numerous sources as a life-changing experience • 1967/June – graduated from Cheltenham High School • 1967-68 – at Indiana University for three semesters[?] • n.d. – First steady gigs r&b keyboard/organist Edwin Birdsong (no known recordings exist of this period) • 1968/March 8-9 – Indiana University Jazz Septet (aka “Mrs. Seamon’s Sound Band”) performs at Notre Dame Jazz Festival; is favored to win, but is disqualified from the finals for playing rock music. • 1968 – Recorded Score with Randy Brecker [1st commercial recording] • 1969 – age 20, moved to New York City • 1969 – appeared on Randy Brecker album Score, his first commercial release • 1970 – co-founder of jazz-rock band Dreams with Randy, trombonist Barry Rogers, drummer Billy Cobham, bassist Doug Lubahn. Recorded Dreams. Miles Davis attended some gigs prior to recording Jack Johnson. -
Aye Que Rico! I Love It! I Gotta Play It! but How Do I Do It? Building a Salsa/Latin Jazz Ensemble
¡Aye que Rico! I Love It! I Gotta Play It! But How Do I Do It? Building a Salsa/Latin Jazz Ensemble By Kenyon Williams f you’ve got salsa in your sangre, you re- tion streaming video lessons on the Web, infor- member your first time—the screaming mation that was once only available to a lucky brass riffs, the electrifying piano montunos, few can now be found with ease (see list at end Ithe unbelievable energy that flowed into of article for suggested educational resources). the audience, and the timbalero, who seemed “You can’t lead any band in any style of to ride on top of it all with a smile as bright music unless you know that style of music!” as the stage lights. “The Latin Tinge,” as Jelly admonishes Latin percussion great Michael Roll Morton called it, has been a part of jazz Spiro. “People end up, in essence, failing be- ever since its inception, but it took the genius cause they don’t learn the style! The clave, bass, of such artists as Mario Bauza and Dizzy piano, and even horns, have to play a certain Gillespie in the early 1940s to truly wed way within the structure—just like the percus- the rhythms of the Caribbean with the jazz sion. If you don’t understand that, you will fail!” harmonies and instrumentation of American For an experienced jazz artist wanting to popular music styles. They created a hybrid learn or teach a new style of music for the first musical genre that would, in turn, give birth to time, this fear of failure can be crippling. -
Maria Rivas Maria Rivas
Maria Rivas Known as one of the most versatile voices in Latin America and now North America, Maria Rivas skillfully combines American and Latin Jazz rhythms with lively yet sentimental music from around the world. She interprets her music in English, Spanish, Italian and Portuguese, and performs her own blend of traditional standards as well as music and lyrics she has composed herself. Maria’s unique sound is an intoxicating combination of classic American jazz and Latin music, with just the right splash of Brazilian accents, together with her signature mixture of indigenous, Caribbean, European, and African strains. From slow and sensuous, to very lively with a strong beat, her audiences love alternately to dance to her music, or sit and listen while being both moved and energized. A significant number of her audience members have described her performances as “magical” -- their word. Her exotic and varied repertoire includes American jazz and blues standards such as ‘Funny Valentine’, ‘Route 66’, ‘Lush Life’, and ‘Summertime;’ Latin classics like ‘Bésame Mucho’ and ‘Moliendo Café;’ smooth and sensuous Brazilian bossa nova tunes like ‘Girl from Ipanema’, ‘Corcovado’, ‘Dindi’ and ‘One Note Samba’; movingly romantic ballads, such as ‘My Romance’ and ‘Our Love is Here to Stay,’ and many, many others. During her musical career spanning over 30 years, Maria has “I consider Maria Rivas to be one of released ten CDs while headlining concerts in Latin America, North America, Europe, and Asia. including the world- the finest singers on the world stage famous Montreux Jazz Festival in Switzerland. She entertains today, truly a tremendous talent. -
Roger Davidson Tierney Sutton Regina Carter Junior Mance
168556_HH_April_REV_0 3/24/16 2:02 PM Page 1 The only jazz magazine in NY in print, online and on apps! April 2016 www.hothousejazz.com Saint Peter's Church Page 10 Brooklyn Center Page 17 Junior Mance Regina Carter Tierney Sutton Roger Davidson Dizzy's Club Coca-Cola Page 21 Caffé Vivaldi Page 10 Where To Go & Who To See Since 1982 168556_HH_April_REV_0 3/24/16 2:03 PM Page 2 2 168556_HH_April_REV_0 3/24/16 2:03 PM Page 3 3 168556_HH_April_REV_0 3/24/16 2:03 PM Page 4 4 168556_HH_April_REV_0 3/24/16 2:03 PM Page 5 5 168556_HH_April_REV_0 3/24/16 2:03 PM Page 6 6 168556_HH_April_REV_0 3/24/16 2:03 PM Page 7 7 168556_HH_April_REV_0 3/24/16 2:03 PM Page 8 8 168556_HH_April_REV_0 3/24/16 2:03 PM Page 9 9 168556_HH_April_REV_0 3/24/16 2:03 PM Page 10 WINNING SPINS By George Kanzler WO PIANISTS WHO HAVE PLIED Crusaders hit "Hard Times" with a deep Ttheir trade in the Big Apple for many blues feel, including locked hand triplets years, Junior Mance and Roger Davidson, and soul jazz backing to Fuji's persuasive are the principals of the albums compris- solo. The violinist carries the swing of ing this Winning Spins. Mance is a long- "9:20 Special," with Mance joining in at the time veteran of the jazz scene, and one of climax for scintillating four-bar exchanges the few musicians still with us who per- to take it out. formed with Charlie Parker. Davidson is Live at Caffé Vivaldi, Volume 3, Roger an eclectic player with roots in classical Davidson (Soundbrush), is a collection of and Brazilian music as well as jazz. -
Annual AT&T San Jose Jazz Summer Fest Friday, August 12
***For Immediate Release*** 22nd Annual AT&T San Jose Jazz Summer Fest Friday, August 12 - Sunday, August 14, 2011 Plaza de Cesar Chavez Park, Downtown San Jose, CA Ticket Info: www.jazzfest.sanjosejazz.org Tickets: $15 - $20, Children Under 12 Free "The annual San Jose Jazz [Summer Fest] has grown to become one of the premier music events in this country. San Jose Jazz has also created many educational programs that have helped over 100,000 students to learn about music, and to become better musicians and better people." -Quincy Jones "Folks from all around the Bay Area flock to this giant block party… There's something ritualesque about the San Jose Jazz [Summer Fest.]" -Richard Scheinan, San Jose Mercury News "San Jose Jazz deserves a good deal of credit for spotting some of the region's most exciting artists long before they're headliners." -Andy Gilbert, San Jose Mercury News "Over 1,000 artists and 100,000 music lovers converge on San Jose for a weekend of jazz, funk, fusion, blues, salsa, Latin, R&B, electronica and many other forms of contemporary music." -KQED "…the festival continues to up the ante with the roster of about 80 performers that encompasses everything from marquee names to unique up and comers, and both national and local acts...." -Heather Zimmerman, Silicon Valley Community Newspapers San Jose, CA - June 15, 2011 - San Jose Jazz continues its rich tradition of presenting some of today's most distinguished artists and hottest jazz upstarts at the 22nd San Jose Jazz Summer Fest from Friday, August 12 through Sunday, August 14, 2011 at Plaza de Cesar Chavez Park in downtown San Jose, CA. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
Appendix B Capitalization
Appendix B: Capitalization BACKGROUND: This instruction sheet provides capitalization guidelines for establishing genre/form terms. 1. Policy for established genre/form terms. Transcribe existing genre/form terms exactly as they appear in authority records, using capital letters as indicated. 2. Proper nouns and adjectives. Capitalize proper nouns and adjectives in genre/form terms and references regardless of whether they are in the initial position. Example: Feast of the Transfiguration music 3. Initial words. Capitalize the first word of a genre/form term or reference regardless of whether it is a proper word. Example: Melic poetry BT Lyric poetry 4. Capitalization according to reference sources. Capitalize any letter within a genre/form term that appears as such in reference sources. 5. Conjunctions, prepositions, and articles. Do not capitalize conjunctions, prepositions and the articles a, an, and the and their equivalents in other languages if they are not the first word in the authorized term, subdivision, or reference. Examples: Bop (Poetry) UF The bop (Poetry) Comedies of humours Exception: Capitalize The if it is the first word in a parenthetical qualifier. Genre/Form Terms Manual Appendix B Page 1 May 2021 Appendix B: Capitalization 6. Inverted UF references. Capitalize the word following a comma that would be in the initial position if the authorized reference were expressed as a phrase in direct word order. Examples: Census data UF Data, Census Radio actualities UF Actualities, Radio 7. Parenthetical qualifiers. Capitalize the first word in a parenthetical qualifier, as well as any proper nouns or adjectives within a parenthetical qualifier. Examples: Hornpipes (Music) Medical films (Motion pictures) 8. -
Keeping the Tradition by Marilyn Lester © 2 0 1 J a C K V
AUGUST 2018—ISSUE 196 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM P EE ING TK THE R N ADITIO DARCY ROBERTA JAMES RICKY JOE GAMBARINI ARGUE FORD SHEPLEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2018—ISSUE 196 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : ROBERTA GAMBARINI 6 by ori dagan [email protected] Andrey Henkin: [email protected] Artist Feature : darcy james argue 7 by george grella General Inquiries: [email protected] ON The COver : preservation hall jazz band 8 by marilyn lester Advertising: [email protected] Encore : ricky ford by russ musto Calendar: 10 [email protected] VOXNews: Lest We Forget : joe shepley 10 by anders griffen [email protected] LAbel Spotlight : weekertoft by stuart broomer US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 31 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, Event Calendar 32 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mathieu Bélanger, Marco Cangiano, Ori Dagan, George Grella, George Kanzler, Annie Murnighan Contributing Photographers “Tradition!” bellowed Chaim Topol as Tevye the milkman in Fiddler on the Roof. -
Major Area/Instrument: ______APPLIED LESSONS (MUS 566) 8 - 12 Hours Required Course Course Title Term Hours Grade Example: MUS 566 Jazz Double Bass FA17 4 A
UNIVERSITY OF ILLINOIS SCHOOL OF MUSIC MASTER OF MUSIC: JAZZ PERFORMANCE CONCENTRATION AUDIT CHECKLIST Name: ________________________________ UIN: _______________________________ Major Area/Instrument: ____________________________ APPLIED LESSONS (MUS 566) 8 - 12 hours required Course Course Title Term Hours Grade example: MUS 566 Jazz Double Bass FA17 4 A MUSIC LITERATURE (Major Area)1 8 hours required Course Course Title Term Hours Grade example: MUS 435 Jazz Aural Skills FA17 2 A RESEARCH & BIBLIOGRAPHY IN MUSIC (MUS 528 A) 2 hours required Course Course Title Term Hours Grade MUS 528A Research & Bibliography in Music 2 ELECTIVE CREDITS2 6 hours required Course Course Title Term Hours Grade example: MUS 414 Music and Society FA17 3 A ADVANCED JAZZ COURSES3 4 - 8 hours required Course Course Title Term Hours Grade example: MUS 548 Advanced Jazz Harmony I FA17 4 A Minimum Credit Hours: 32 (excluding deficiencies) 1 To be chosen from MUS 435, 436, 504, 508, 548, 549, 499 (Jazz Composition) 2 Electives may be chosen from Music and non-Music courses at the 400 or 500 level, subject to any restrictions imposed by the major division. Students intending to continue to a DMA degree are advised to consider taking some academic courses. No more than four hours of MUS 450 (Advanced Ensemble) may count towards the degree. 3 To be selected in consultation with the student’s advisor from the Jazz Core Curriculum list. DEFICIENCES, IF ANY Course Course Title Term Hours Grade example: GER 101 Beginning German I FA17 4 A MUSIC LITERATURE CLASS LISTS: Jazz Composition I & II (graduate students enroll under MUS 499 for 4 credit hours.