DOCSLIB.ORG

December 1992

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F. MILLER 16 IT'S HAPPENINGS A Valuable Lesson QUESTIONABLE BY CHRIS ADAMS 50 ELECTRONIC REVIEW 20 112 AROUND Trigger Perfect DRUMLINE Profile s Acoustic Drum THE WORLD Triggers 132 CRITIQUE Buleria For BY RICH WATSON 60 PORTRAITS Drumset Chris Hughes BY WOODY THOMPSON 54 NEW AND 140 1992 BY GEOFF NICHOLS NOTABLE INDEX UPDATE 136 ROCK CHARTS Terry Bozzio: 148 DRUM MARKET "Sling Shot" TRANSCRIBED BY GLENN DEITSCH 150 DRUMKIT OF THE MONTH JAZZ DRUMMERS' WORKSHOP Creating Variety When Trading 4's BY TERRY O'MAHONEY EDITOR/PUBLISHER Ronald Spagnardi ASSOCIATE PUBLISHER Isabel Spagnardi Remembering Jeff MANAGING EDITOR Rick Van Horn FEATURES EDITOR William F. Miller Obviously, the tragic and untimely loss of Jeff ASSOCIATE EDITOR Adam J. Budofsky Porcaro has been devastating to all of us in the drumming community. Over the years, MD spoke EDITORIAL ASSISTANT Justin J. Cordes with Jeff on four occasions. Perhaps a few of his ART DIRECTOR Scott G. Bienstock thoughts taken from those MD interviews will ART ASSISTANT remind us of what Jeff Porcaro was all about, and Lori Spagnardi hopefully paint a poignant picture of this most tal- ADMINISTRATIVE MANAGER Tracy A. Kearns ented member of our drumming family. ADVERTISING DIRECTOR Bob Berenson "I wouldn't recommend dropping out of school like I ADVERTISING ASSISTANT Joan C. Stickel did. But from my experience, going on the road at 18 did a lot more SALES AND MARKETING Crystal W. Van Horn for me than school." DIRECTOR "At this point we're calling ourselves Toto. We have a lot of offers right CONSULTANT TO THE Arnold E. Abramson PUBLISHER now, and it looks like it might happen." MODERN DRUMMER ADVISORY BOARD: Henry Adler, Kenny "Gadd, Mason, Marotta, Purdie, and Keltner. They're the guys doing Aronoff, Louie Bellson, Bill Bruford, Jim Chapin, Alan Dawson, Dennis it today. I wouldn't put myself up with any of those guys." DeLucia, Les DeMerle, Len DiMuzio, Charlie Donnelly, Peter Erskine, Vic Firth, Danny Gottlieb, Sonny Igoe, Jim Keltner, Peter Magadini, —July'78 George Marsh, Joe Morello, Rod Morgenstein, Andy Newmark, Neil Peart, Charlie Perry, Dave Samuels, John Santos, Ed Shaughnessy, Steve "There's not one record I can listen to that I've done, without getting Smith, Ed Thigpen, Dave Weckl. bugged at how I played." CONTRIBUTING WRITERS: Robyn Flans, Simon Goodwin, Rick "In this business, you have to put up with temperaments sometimes, Mattingly, Ken Micallef, Matt Peiken, Teri Saccone, Robert Santelli. but you should never have to put up with abuse." MODERN DRUMMER magazine (ISSN 0194-4533) is published monthly by MODERN DRUMMER Publications, Inc., 870 Pompton Avenue, Cedar Grove, NJ 07009. Second-Class Postage paid at Cedar "I copied Gordon and Keltner, and all these guys I dug. After a while, Grove, NJ 07009 and at additional mailing offices. Copyright 1992 by the accumulation of all the guys becomes your own thing." MODERN DRUMMER Publications, Inc. All rights reserved. Reproduction without the permission of the publisher is prohibited. "I was never meant to be a legitimate studio drummer. I just walked in, played, and had fun." EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES: MODERN DRUMMER Publications, 870 Pompton Avenue, Cedar Grove, NJ "You must always have a real good sense of a tune—verse, chorus, 07009. Tel.: (201) 239-4140. bridge, dynamics—and just keep good time and be as simple as possi- MODERN DRUMMER welcomes manuscripts and photographic mate- ble." rial, however, cannot assume responsibility for them. Such items must be accompanied by a self-addressed, stamped envelope. "The best thing for drummers is to have fun. Even if you're falling apart inside, you have a great outlet to express your emotions." MUSIC DEALERS: Modern Drummer is available for resale at bulk rates. Direct correspondence to Modern Drummer, Dealer Service, P.O. —February '83 Box 389, Mt. Morris, IL 61054. Tel.: (800) 334-DRUM or (815) 734- 6013. "I'm tight and nervous playing too loud and too fast. People don't see SUBSCRIPTIONS: $27.95 per year; $49.95, two years. Single copies me do a lot of that because I'm not really good at it." $3.95. "I'll play anywhere, whether it's in the studio or in a club. Hopefully I SUBSCRIPTION CORRESPONDENCE: Modern Drummer, P.O. Box play in the studio like I play live, with the same excitement." 480, Mt. Morris, IL 61054-0480. Change of address: Allow at least six —November '88 weeks for a change. Please provide both old and new address. Toll Free Tel.: (800) 551-3786. "Just before I got through the door of my first session, I was so ner- POSTMASTER: Send address changes to Modern Drummer, P.O. Box vous, I threw up right in the corner." 480, Mt. Morris, IL 61054. "Whatever gift God gave me—for whatever reason—I've always tried A Member Of: to use it to its full potential." Audit Bureau Of Circulations —November '90 Membership applied for. Jeff Porcaro to happen in this lifetime." sound I ever heard—and he smiled when Editor's note: Response to the news of Jeff Jeff and Jimi, crank it up—we'll all be he played. We got to hang out between Porcaro's untimely passing was immedi- listening! shows, and he was always complimentary ate and substantial. MD's offices received Greg Rule to me—putting his arm around my dozens of phone calls within the first few Keyboard Magazine shoulder and making me feel strong. days following the announcement, and lit- Cupertino CA We'll never know why Jeff was taken at erally hundreds of cards and letters over such an early age. God has other plans the ensuing weeks. Many readers wished for him. We should all grow and learn to convey their condolences to the Porcaro from Jeff's strength and have a special family, and we were happy to forward At about 12:30 this morning I learned of place in our hearts for him. their correspondence. Others simply the passing of Jeff Porcaro. I realized how Ray Marchica needed to express their own feelings it felt to lose an idol as I shed real tears. New York NY regarding this tragic loss. Here is just a I'm sad to say I had never realized how sampling of those sentiments. much Jeff had touched my life until that moment. It is with a touch of bittersweet sentiment that I will remember the sto- I wish to extend my deepest sympathy to ries of Jeff in the studio with Rickie Lee the Porcaro family. Jeff was the king of I can vividly remember the feeling I had Jones. And the story of his getting sick tasteful drumming, and such a humble, when I first heard Jeff play fourteen years before his first session will continue to unassuming person. Thanks for all the ago. Shivers ran through my hands as I remind me that if the Session God could wonderful grooves, Jeff. You will be sorely tried to imagine what it must feel like to be nervous, it's okay for me to have cold missed. play with such strength, such subtlety, feet, too. Jim Maddox such completeness. Jeff inspired me to I want to express my deepest sympathy Valdosta GA study, to listen, to search for that elusive to the Porcaro family and the members of blend of gentleness and power. As I grew Toto. I can only imagine the loss you older, I developed my own style of drum- must feel, and though it is small consola- ming—but Jeff's touch of inspiration was tion, I feel it as well.
Recommended publications
  • Booker Little

    Booker Little

    1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
  • Victory and Sorrow: the Music & Life of Booker Little

    Victory and Sorrow: the Music & Life of Booker Little

    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation 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 Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
  • Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr

    Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr

    new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit.
  • Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson

    Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson

    Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
  • Relatório Anual 2011

    Relatório Anual 2011

    MESSAGE FROM THE PRESIDENT MENSAGEM DO PRESIDENTE In this annual activity report we present Dorina Apresentamos, neste relatório anual de atividades, iniciativas da Fundação Dorina Nowill Foundation for the Blind’s initiatives, aiming to facilitate the inclusion of thousands that are blind or Nowill para Cegos visando facilitar a inclusão social de milhares de pessoas cegas e have low vision. com baixa visão. The year 2011 was marked by the persistence of O ano de 2011 foi marcado pela permanência do legado de Dorina de Gouvêa Dorina Gouvea Nowill’s legacy, which guides our management from the perspective of four key points: Nowill, orientando nossa gestão sob a perspectiva de quatro pontos fundamentais: continuity, renewal, reliability and support. I am sure continuidade, renovação, credibilidade e sustentação. Tenho a certeza de que, onde that, wherever she is, her spirit remains alive in the estiver, seu espírito permanece vivo na memória daqueles que com ela conviveram e memory of those who lived with her and in our work for people with visual impairments through access to no nosso trabalho em prol das pessoas com deficiência visual, por meio do acesso à rehabilitation, culture and education. reabilitação, cultura e educação. In the year that we completed 65 years of existence, No ano em que completamos 65 anos de existência, para atender os leitores brasileiros to serve Brazilian readers with visual impairments, we have produced more than 190,000 copies of books com deficiência visual, produzimos mais de 190 mil exemplares de livros e revistas and magazines in accessible formats: Braille, audio nos formatos acessíveis: braille, áudio e Daisy.
  • Arthur Blythe Quintet

    Arthur Blythe Quintet

    Arthur Blythe Quintet Thanks to woessner for sharing the Arthur Blythe Quintet (New York) and Ran Blake show at Dime. woessner noted in 2013: On June the 3, 2013, [jazz saxophonist] Arthur Blythe went into the USC Keck Center to have a large benign tumor removed from his right Kidney. The operation was serious, as Arthur spent one week after the procedure in an induced coma in their ICU unit. His health has been a challenge for him for several years now. The Parkinson’s (Arthur has been living with Parkinson’s for eight years) has developed more rapidly and at this time he is in a rehabilitation center in Lancaster, CA. His goal is to be back home (?) within the next 30 days. The recent operation he underwent diminished his ability to walk and swallow foods. He is fighting hard each day to gain his strength back. Donate to the Arthur Blythe Parkinson’s Fund here: http://gusttsilis.com/arthurblythe/ Thanks also to Lewojazz and to rillenheini for sharing the Berlin track at Dime. Lineage: Public Theater, New York, NY; May 4, 1979 New York: FM > cassette > Total Recorder > HD > CD Wave Editor > CD > EAC > FLAC Philharmonie, Berlin, Germany; November 1, 1980 Berlin: rbb Kultur radio broadcast (.mp2, 320 kb/s, 48 kHz) > HDD > Ran Blake 1979 (?) Audacity (edits, fades, boost + 8,0 dB, flac) MP3 Version New York 1979 Arthur Blake Quartet 01. Radio Introduction 0:07 Philharmonie, Berlin, Germany 02. Spirits In The Field 4:46 November 1, 1980 1979 York Arthur Blythe Quintet New 03. Lenox Avenue Breakdown 18:03 10.
  • Jay Graydon Discography (Valid July 10, 2008)

    Jay Graydon Discography (Valid July 10, 2008)

    Jay Graydon Discography (valid July 10, 2008) Jay Graydon Discography - A (After The Love Has Gone) Adeline 2008 RCI Music Pro ??? Songwriter SHE'S SINGIN' HIS SONG (I Can Wait Forever) Producer 1984 258 720 Air Supply GHOSTBUSTERS (Original Movie Soundtrack) Arista Songwriter 1990 8246 Engineer (I Can Wait Forever) Producer 2005 Collectables 8436 Air Supply GHOSTBUSTERS (Original Movie Soundtrack - Reissue) Songwriter 2006 Arista/Legacy 75985 Engineer (I Can Wait Forever) Producer Air Supply DEFINITIVE COLLECTION 1999 ARISTA 14611 Songwriter (I Can Wait Forever) Producer Air Supply ULTIMATE COLLECTION: MILLENNIUM [IMPORT] 2002 Korea? ??? Songwriter (I Can Wait Forever) BMG Entertainment 97903 Producer Air Supply FOREVER LOVE 2003 BMG Entertainment, Argentina 74321979032 Songwriter (I Can Wait Forever) FOREVER LOVE - 36 GREATEST Producer Air Supply HITS 1980 - 2001 2003 BMG Victor BVCM-37408 Import (2 CDs) Songwriter (I Can Wait Forever) Producer Air Supply PLATINUM & GOLD COLLECTION 2004 BMG Heritage 59262 Songwriter (I Can Wait Forever) Producer Air Supply LOVE SONGS 2005 Arista 66934 Songwriter (I Can Wait Forever) Producer Air Supply 2006 Sony Bmg Music, UK 82876756722 COLLECTIONS Songwriter Air Supply (I Can Wait Forever) 2006 Arista 75985 Producer GHOSTBUSTERS - (bonus track) remastered UPC: 828767598529 Songwriter (I Can Wait Forever) Producer Air Supply 2007 ??? ??? GRANDI SUCCESSI (2 CD) Songwriter (I Can Wait Forever) ULTIMATE COLLECTION Producer Air Supply 2007 Sony/Bmg Import ??? [IMPORT] [EXPLICIT LYRICS] [ENHANCED] Songwriter (I Can Wait Forever) Producer Air Supply ??? ??? ??? BELOVED Songwriter (I Can Wait Forever) Producer Air Supply CF TOP 20 VOL.3 ??? ??? ??? Songwriter (Compilation by various artists) (I Can Wait Forever) Producer Air Supply COLLECTIONS TO EVELYN VOL.
  • Kool LA Fest Goes

    Kool LA Fest Goes

    32 Jazz Kool L.A. Fest Goes `Outside' Five -Concert Series Turns Spotlight On Avant-Garde By SAM SUTHERLAND Kool shows here have the input of and festivals, including the Playboy veteran promoter George Wein, Jazz Festival, the Jazz at the Bowl LOS ANGELES -In a fresh con- while employing Outward Visions' concerts and the Jazz at the Pavilion cert programming gambit, the Kool Marty Khan and Helene Cann to series. Jazz Festival will spotlight the evolv- capture the decidedly atypical talent "They'd tried to come up with a ing "new music" realm when it lineup. way to make new music work within alights here starting Saturday (6). In A major metropolitan jazz festival the overall scheme of earlier New the process, the five concerts headlining such mavericks as the Art York festivals," adds Outward Vi- planned in the series will challenge Ensemble of Chicago, Anthony sions' Helene Cann, "but somehow Los Angeles' frequent stereotype as Braxton, James Blood Ulmer, Leroy it never really worked, musically or a commercial, pop jazz market Jenkins and Laurie Anderson, economically." In that sense, she as- rather than a testing ground for the among others, may provide the best serts, the Kool Jazz L.A. bill will avant- garde. measurement to date of how far the seek to determine whether the field Co- sponsored by Brown & Wil- Kool Jazz packages have journeyed can be better on its own than when liamson Tobacco's Kool cigarettes from their mid '70s emphasis on r &b coupled with more traditional jazz CHICK'S CREW -It's a classy reunion backstage as Chick Corea celebrates and the Los Angeles Philharmonic, and fusion.
  • Downbeat.Com March 2014 U.K. £3.50

    Downbeat.Com March 2014 U.K. £3.50

    £3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene
  • The Evolution of Ornette Coleman's Music And

    The Evolution of Ornette Coleman's Music And

    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa

    Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa

    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
  • Weeksville Lost Jazz Shrines

    Weeksville Lost Jazz Shrines

    1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project.