DOCSLIB.ORG

Elizabeth Cohen Collection MS.343

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

http://oac.cdlib.org/findaid/ark:/13030/c86d5w4z No online items Guide to the Elizabeth Cohen Collection MS.343 Finding aid prepared by Nicholas G. Meriwether University of California, Santa Cruz 1156 High Street Santa Cruz, CA, 95064 (831) 459-2547 [email protected] 4/8/2014 Guide to the Elizabeth Cohen MS.343 1 Collection MS.343 Title: Elizabeth Cohen Collection Identifier/Call Number: MS.343 Contributing Institution: University of California, Santa Cruz Language of Material: English Physical Description: 6.0 containers(1) box, documents; (1) box, T-shirts; (1) box, realia; (3) items, over-sized realia Date (bulk): Bulk, 1977-1991 Date (inclusive): 1948 - 2010 creator: Cohen, Elizabeth, (Elizabeth A.) creator: Hart, Mickey creator: Weir, Bob, 1947- Scope and Content of Collection This collection comprises documents, apparel, musical instruments, and equipment used in, or acquired during, Elizabeth Cohen's work with Grateful Dead band members Bob Weir and Mickey Hart on various projects. Biography Dr. Elizabeth Cohen is a physicist who specializes in acoustics. As an undergraduate at Bennington College in Vermont she combined her interest in music and physics, earning degrees in both fields in 1975. She earned her master’s degree in electrical engineering at Stanford after completing a two-year program at Bell Labs, going on to earn her PhD in acoustics from Stanford. She retired as a professor of Film and Information studies at UCLA, where she also served as a board member of UCLA's Moving Image Preservation Program. In addition to her academic appointments at Stanford and UCLA, she founded her own consulting firm, Cohen Acoustical, in 1981, working with an array of clients including the Hollywood Bowl, Dolby Laboratories, and the Academy of Motion Picture Arts and Sciences. She served as the president of the Audio Engineering Society and was an engineering fellow to the White House National Economic Council. Her work with the Grateful Dead included research with Bob Weir to develop an electric guitar, a collaboration that resulted in a coauthored article, "The Influence of Signal Processing Devices on the Timbre Perception of Electrical Guitars," published in the Journal of Guitar Acoustics, no. 6 (1982). She went on to work with Mickey Hart and UC Santa Cruz music professor Fredric Lieberman on several projects relating to drumming, percussion and rhythm, which informed the books Drumming at the Edge of Magic (1990), Planet Drum (1991), and Spirit into Sound (1999). As one journalist observed, "The effusive Cohen speaks about acoustical technology with a fervor approaching evangelism" (Karen Kaplan, “The Sounds Inside Our Heads,” Los Angeles Times, July 14, 1997). Separated Materials (2) backstage passes, Grateful Dead at Madison Square Garden, Sept. 12, 1991, removed and filed with MS350, Deadhead Contributions, Backstage Passes. Subjects and Indexing Terms Grateful Dead (Musical group) Box 1 Documents Physical Description: 3.0 files Box 1, Folder 1 "Different Drum" Proposal Physical Description: 14.0 pages Box 1, Folder 2 Contract, Copyright Registration Physical Description: 3.0 pages Box 1, Folder 3 Concert Program, Gyoto Tantric Choir, Miles Davis, Philip Glass, Mickey Hart, Cathedral of St. John the Divine, New York City, Dec. 3, 1988 Physical Description: 8.0 pages Box 2 Apparel Physical Description: 21.0 items(18) T-shirts and (4) sweat-shirts Guide to the Elizabeth Cohen MS.343 2 Collection MS.343 Box 2, Object 1 T-shirt (front): "Old & In the Way", ca. 1973. ms0343_obj_0001 Box 2, Object 2 T-shirt (front//back): "Grateful Dead, Mars Hotel" [Stanley Mouse] // "Cinema", ca. 1974. ms0343_obj_0002 Box 2, Object 3 T-shirt (front): "The Gibson" [Stanley Mouse, hand-painted], ca. 1978. ms0343_obj_0003 Box 2, Object 4 T-shirt, long-sleeved (front//back): "Grateful Dead | Blues Borthers | NRPS" // "New Years Eve | Winterland | December 31, 1978 | Breakfast Served At Dawn". ms0343_obj_004 Box 2, Object 5 Sweat-shirt (front//back): "Northern Stage Co." // "The Grateful Dead | Alaska | 1980". ms0343_obj_0005 Box 2, Object 6 T-shirt (front): "High Noon" [Stanley Mouse], 1981. ms0343_obj_006 Box 2, Object 7 T-shirt (front//back): "Dance For Disarmament" [Stanley Mouse] // "Dance For Disarmament | Joan Baez | Jerry Garcia | Mickey Hart | Phil Lesh | Bob Weir | and | High Noon | San Mateo County | Fairgrounds | December 12, 1981 | Presented by Humanitas". ms0343_obj_007 Box 2, Object 8 Sweat-shirt, sleeveless (front//back): "Bobby & the Midnites" / "BOBBY | & the | MIDNITES | BOBBY WEIR | BILLY COBHAM | BOBBY COCHRAN | DAVE GARLAND | KENNY CRADNEY", ca. 1981. ms0343_obj_008 Box 2, Object 9 T-shirt (front): "Bobby and the Midnites" [Victor Moscoso], 1982. ms0343_obj_0009 Box 2, Object 10 T-shirt, long-sleeved (front//back): "Grateful Dead" [Dead Set illustration by Dennis Larkins] // "1982". ms0343_obj_0010 Box 1, Object 11 T-shirt (front//back): GD graphic [Rick Griffin]// "Grateful Dead | Fall Tour '82". ms0343_obj_0011 Box 1, Object 12 Sweat-shirt (front): "Grateful Dead" [David Lundquist], 1984. ms0343_obj_0012 Box 2, Object 13 T-shirt, long-sleeved (front//back): Grateful Dead logo [Owsley/Thomas variant] // "Spring |Tour | 1985 | Grateful Dead". ms0343_obj_0012 Box 2, Object 14 T-shirt (front): "The Gyuto Tantric Monastery | Multiphonic Choir | Berkeley Community Theatre | May 18, 1985". ms0343_obj_0014 Box 2, Object 15 T-shirt (front): Modified Grateful Dead logo, "Feb. 8, 9, 11, 12, 14", [fan-made], ca. 1986. ms0343_obj_0015 Box 2, Object 16 T-shirt, sleeveless (front//back): "Grateful Dead" [Rick Griffin]// "Summer Tour | 1986". ms0343_obj_0016 Box 2, Object 17 Sweat-shirt (front): "Planet Drum", ca. 1991. ms0343_obj_0017 Box 2, Object 18 T-shirt (front): Planet Drum / Steal-Your-Face logo, 1999. ms0343_obj_0018 Box 2, Object 19 Sweat-shirt (front): "Grateful Dead | madison sq. garden", n.d. ms0343_obj_0019 Box 2, Object 20 T-shirt (front): "Seva | A Solution in Sight", n.d. ms0343_obj_0020 Box 2, Object 21 T-shirt (front): "My Lightning Too", n.d. ms0343_obj_0021 Box 3 Realia Physical Description: 1.0 item Box 3, Object 22 African-style thumb piano (kalimba). ms0343_obj_0022 Instrument Note: This African-style thumb piano (or kalimba) was made for Dr. Cohen by Santa Cruz luthier and instrument builder Jim Loveless ca. 1979-1980, as part of her work with Mickey Hart and UCSC music professor Fredric Lieberman on the books Drumming at the Edge of Magic (1990) and Planet Drum (1991). Oversize 1, Electric guitar in case. ms0343_obj_023 Object 23 Instrument Note: This Modulus Graphite guitar prototype was designed by Jeff Hasselberger, Bob Weir, and Elizabeth Cohen. Created by Jeff Gould, it was used by Dr. Cohen during her work with Weir and Hasselberger that produced their article, "The Influence of Signal Prcoessing Devices on the Timbre Perception of Electric Guitars," Journal of Guitar Acoustics 6 (Sept. 1982): 123-126. Oversize 2, Fender Modified Pro-Amp 5D5 Tweed Tube Amplifier, 1948. ms0343_obj_0024 Object 24 Item Note: This very early Fender instrument amplifier was used by Dr. Cohen during her work with Bob Weir and Jeff Hasselberger to develop an electric guitar prototype. Guide to the Elizabeth Cohen MS.343 3 Collection MS.343 Oversize 3, Halliburton "Zero" model aluminum briefcase, decorated. ms0343_obj_0025 Object 25 Item Note: This briefcase is one of only a few prototypes made by Halliburton Corp. for the Grateful Dead and a few of their friends and colleagues. Guide to the Elizabeth Cohen MS.343 4 Collection MS.343.
Recommended publications
  • Johnny O'neal

    Johnny O'neal

    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson 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 Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
  • Scheherazade Plan of Action

    Scheherazade Plan of Action

    Alonzo King LINES Ballet presents an extraordinary new collaboration between three celebrated artists - choreographer Alonzo King, architect Christopher Haas, and percussionist Mickey Hart Alonzo King LINES Ballet Spring Season April 15-24, 2011 Novellus Theater at Yerba Buena Center for the Arts 700 Howard Street, San Francisco www.linesballet.org Michael Montgomery and Keelan Whitmore featured with one of Christopher Haas’ original sets, photo by RJ Muna SAN FRANCISCO, CA—February xx, 2011—Alonzo King LINES Ballet is pleased to present a groundbreaking new collaboration bringing together a trio of celebrated artists: choreographer Alonzo King, architect Christopher Haas, and percussionist Mickey Hart. This new work will have its world premiere during Alonzo King LINES Ballet’s 2011 Spring Home season, at the Novellus Theater at Yerba Buena Center for the Arts, April 15-24, 2011. King, Haas and Hart join together to create a new piece that explores our relationship with space – physical space and infinite space. The original soundscore by the Grammy-award winning Hart, is based on his recent collaborations with Nobel Laureate George Smoot, draws on the harmonics of the cosmos itself, gathering light waves from the vibrations of heavenly bodies and converting them into layers of sound. Architect Haas, formerly a collaborator with world-renown Swiss architects Herzog &de Meuron, and one of the lead architects of San Francisco’s MH deYoung Museum, has created an interactive built environment, partnering the dancers with transformable architectural surroundings crafted from inexpensive, ordinarily overlooked materials such as recycled cardboard and elastic chord, his sets strike an intriguing kinetic balance between linear and organic forms, and the extraordinary dancers of Alonzo King LINES Ballet grace the stage with incomparable physical artistry.
  • The History of Rock Music: 1970-1975

    The History of Rock Music: 1970-1975

    The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality.
  • 124720 Aaron Read Lowres

    124720 Aaron Read Lowres

    Dead Hart Live Beat by Amy Brown Born in the war year of 1943 in New York, Mickey bearded guitar player who had a voice that finger touched your Hart's parents were drummers. soul and kissed your neck. Jerry stepped up when R & B genius Although he didn't stay around to enjoy Mickey's birth, Pigpen McKernan forgot there were closing times and his dad was a 'rudimental' drummer, a master of establishing checked out of the band and life too early. Bob Weir was there, tempo through percussion and acting as the backbone of an too, the cute one with an edge, who alternated vocals with ensemble. Mickey was raised by his mother, who was what Jerry, and Phil Lesh and hey…they all had their following, but Mickey calls an 'intramural' player, a musician with a true love for this article at least and a sense of Rock history, it is of rhythm and its many artistic expressions. impossible to ignore the impact that Mickey Hart has had on Whether it was in his blood or an imprint of early the world of rhythm and percussion beginning with his days memory, Hart embarked on a lifetime of exploration into the with “The Dead” and continuing with the groups he has either artistry and healing powers of drumming. In 1967, with the joined or founded since Jerry Garcia's challenged heart gave Summer of Love in full blossom, Mickey fell in with a group out in 1995. of musicians from Northern California. They were a free- “ My teacher took me aside when I was in spirited and experimental group of high school and asked, “Do you want to guys who would become his lifelong play drums for the rest of your life?” companions.
  • 1991Voices-Of-The-RF.Pdf

    1991Voices-Of-The-RF.Pdf

    Public Culture PUBLIC CULTURE’S current cover is also the cover of a CD/cassette recording of music and environmental sounds from Bosavi, Papua New Guinea, commercially released by the Rykodisc label in April of 1991. What motivates this linkage across media and genres? Where might a journal that explores the politics and aesthetics of transnational cultural flows share common concerns with a commercial recording of “tribal” mu- sic published in a series called “The World?” Two responses will be briefly Public Cul~ 131 Vol. 4, No. 1: Fall 1991 Published by Duke University Press Public Culture explored here. One involves ways the local and global intersect in new fonns of cultural production; another involves ways ‘‘wofld music” embod- ies and provokes various anxieties about the politics of cultual representa- tion. Surely it’s a mark of the contemporary moment that the collision of forces responsible for VOICES OF THE RAINFOREST presents little surprise or sense of improbability. But substantial disjunctions are embedded in this particular cultural production. For example, there is the contrast of recording in Papua New Guinea, “the last unknown” (a phrase originated by a book title and still in popular circulation), where people of the highland interior have come into contact with outsiders only in the last fifty years, and making a commercial high-tech CD with portable state-of-the-art equipment and experimental, even pioneering field recording techniques. Or, the contrast of ramding the sounds of birds and music among a small group of isolated people, the Kaluli, whose rainforest environment and cultural future are now threatened by - in addition to twenty years of evangelical mission- ization -recent oil exploration that will yield multibilliondollarprofits for American, British, Australian, and Japanese companies, as well as for the government of Papua New Guinea.
  • Bobi Céspedes Band in Concert with Pellejo Seco with Special Guest John Santos

    Bobi Céspedes Band in Concert with Pellejo Seco with Special Guest John Santos

    For immediate release: July 18, 2018 Media contact: [email protected] Brava presents Bobi Céspedes Band in Concert with Pellejo Seco with special guest John Santos Saturday, August 18, 2018 Brava Theater Center Tickets $20 – $50 VIP reception – 6:30pm Doors open – 7:00pm Concert – 8:00pm A sonera of the classic Cuban style and a priestess of the Yorùbán diaspora, Gladys “Bobi” Céspedes has been at the forefront of representing and promoting Cuban music in the Bay Area and the United States for over 40 years. Bobi first won international recognition as director and lead singer for Conjunto Céspedes, which was recognized as an early exponent of world music for their unique approach to Cuban dance music, incorporating jazz elements and folkloric idioms with the Cuban son. Bobi Céspedes’ electrifying ensemble features some of the Bay area’s finest Latin Jazz musicians: Musical director, Marco Díaz on piano, trumpet and vocals; bassist Saúl Sierra-Alonso; Julio Pérez on bongos and percussion; José Roberto Hernández on guitar and vocals; Lichi Fuentes on vocals, chekeré, and guiro, and special guest John Santos on Joining Bobi Céspedes on the bill is one of the Bay Area’s most inventive Cuban bands Pellejo Seco, which draws on Afro-Cuban folklore and the latest Havana dance music, Latin jazz and flamenco, bossa nova and jazz/rock fusion. A portion of the theater will be cleared for a dance floor, so come ready to groove to the sounds of Afro-Cuba and beyond! “A Cuban powerhouse of a woman who demonstrates on record and in concert that she is the worthy successor to the throne of Celia Cruz.” – LA Times -- Orisha Oyá Workshop with Bobi Céspedes Sunday, August 19 – 2pm Brava Cabaret Drawing on sacred songs and stories from Yoruba mythology, Bobi Céspedes, will lead a workshop exploring the mystery and significance of Orisha Oyá, who represents the wind.
  • Zakir Hussain & Masters of Percussion

    Zakir Hussain & Masters of Percussion

    CAL PERFORMANCES PRESENTS Sunday, March 23, 2014, 7pm Zellerbach Hall Zakir Hussain & Masters of Percussion with Zakir Hussain tabla Selvaganesh Vinayakram kanjira & ghatam Steve Smith Western drums Niladri Kumar sitar Dilshad Khan sarangi Deepak Bhatt dhol Vijay Chavan dholki and special guest Antonia Minnecola Kathak dancer PROGRAM Tonight’s program will be announced from the stage. There will be one intermission. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS The foremost disciple of his father, the leg- endary Ustad Allarakha, Mr. Hussain was a child prodigy who began his professional career at the age of twelve and had toured internation- ally with great success by the age of 18. He has been the recipient of many awards, grants and honors, including Padma Bhushan (2002), Padma Shri (1988), the Sangeet Natak Akademi Award (1991), Kalidas Samman (2006), the 1999 National Heritage Fellowship Award, the Bay Area Isadora Duncan Award (1998–1999), and Grammy Awards in 1991 and 2009 for Best World Music Album for Planet Drum and Global Drum Project, both collaborations with Mickey Hart. His music and extraordinary con- tribution to the music world were honored in April 2009, with four widely heralded and sold- out concerts in Carnegie Hall’s “Perspectives” series. Also in 2009, Mr. Hussain was named a Susana Millman Susana Member in the Order of Arts and Letters by AKIR HUSSAIN (tabla) is today appreciated France’s Ministry of Culture and Commun - Zboth in the field of percussion and in the ication. Most recently, the National Symphony music world at large as an international phe- Orchestra with Christoph Eschenbach com- nomenon.
  • Advance Program Notes Zakir Hussain and Masters of Percussion Monday, March 31, 2014, 8 Pm

    Advance Program Notes Zakir Hussain and Masters of Percussion Monday, March 31, 2014, 8 Pm

    Advance Program Notes Zakir Hussain and Masters of Percussion Monday, March 31, 2014, 8 pm These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. ZAKIR HUSSAIN and Masters of Percussion with Selvaganesh Vinayakram (kanjira and ghatam) Steve Smith (western drums) Niladri Kumar (sitar) Dilshad Khan (sarangi) Deepak Bhatt (dhol) Vijay Chavan (dholki) The preeminent classical tabla virtuoso of our time, Zakir Hussain delivers brilliant performances that have established him as a national treasure in his native India and as one of the world’s most esteemed and influential musicians, renowned for his genre-defying collaborations. His playing is marked by uncanny intuition and masterful improvisational dexterity, founded in formidable knowledge and study. Masters of Percussion, an outgrowth of Hussain’s memorable tours with his father, the legendary Ustad Allarakha, has enjoyed successful tours in the West since 1996. Joining the 2014 tour will be Selvaganesh Vinayakram (kanjira and ghatam), Steve Smith (western drums), Niladri Kumar (sitar), Dilshad Khan, (sarangi), Deepak Bhatt (dhol), and Vijay Chavan (dholki). Zakir Hussain appears by arrangement with IMG Artists 152 W. 57th Street, 5th Floor, New York, N.Y. 10019 For more information, please visit www.zakirhussain.com. Artist Biographies Zakir Hussain Zakir Hussain is appreciated both in the field of percussion and in the music world at large as an international phenomenon. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have not only established him as a national treasure in his own country, India, but gained him worldwide fame.
  • Summer Catalog 02

    Summer Catalog 02

    SUMMER BACKROADS m u s i c MUSIC-BY-MAIL CATALOG ~ 2002 ~ We proudly present the SUMMER 2002 HEARTBEATS CATALOG. I have separated the titles by style, catagorized by the main musical styles BACKROADS offers. This brochure has nearly all new reviews, since the last Catalog! Nu Ambient titles, Chant & Vocal releases, Space Music, Music for Healing Arts, World Music, and a wide variety of Electronic Music, Guitar, Contemporary & Tribal Primal sounds. If you don’t yet have a copy of the 20th Anniversary 40-pg. 2001 HEARTBEATS Catalog, please call (800-767-4748), email ([email protected]) or download it in its entirety in .pdf format from our Web site (www.backroadsmusic.com). Be sure to check our Web Site for the Summer “SELL-OFF” list, & our list of “Previously Played” CDs, along with other updates. Keep those orders coming, and watch for more bulletins & news about transitions here at Backroads in how we present the music. Please accept our deep appreciation for your musical interest & enthusiasm.As always, please ask for any other titles you are looking for. DEVA PREMAL “Embrace” SHASTRO “Shaman’s Healing” New and Featured Possibly the most beautiful CD of the century! The With each subsequent release, Shastro seems to take his third release from the artist by whom all chant artists carefully conceived ideas to a new level. On his latest CD, ISHQ “Orchid” are measured is beyond words, with impeccable mu- he joins the unique grouping of artist such as Anugama, The fantastic “Orchid” is beyond dreamy, and very pos- sicianship, pure vo- Deuter, Klaus Wiese (of sibly #1 for 2002 so far.

  • Joshua Redman & Zakir Hussain

    Co-presented with “Supremely “One of the affable and flowing architects of improviser.” world music.” —New York Times —NPR Joshua Redman & Zakir Hussain with Joel Ross and Zach Moses Ostroff Thursday, July 1, 7:30 pm, Frost Amphitheater, Stanford Welcome! One of the joys of presenting music is the opportunity to work with a great artist to imagine something fresh — the possibility of a unique and wonder- ful sound that hasn’t yet been heard — and then help the musicians come together to breathe life into it and create their shared vision, and then share it with the community. It has been a pleasure to work with Joshua Redman to create this gathering of amazing musicians, all of whom are wonderful composers and bandlead- ers in their own right. And it’s a group that speaks across generations: Two of the musicians are recognized masters with the wisdom from careers span- ning many decades, while two other younger members of this quartet are JIM NADEL brilliantly creative new voices in jazz. Artistic Director Thank you for joining us at the Stanford Jazz Festival, and I invite you to and Founder, SJW enjoy this wonderful music! Joshua Redman Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the decade of the 1990s. Born in Berkeley, he began playing clar- inet at age nine before switch- ing to what became his primary instrument, the tenor saxophone — which he played when he at- tended the Stanford Jazz Work- shop Jazz Camp as a teenager, launching a fruitful relationship that has continued ever since.
  • Giovanni Hidalgo

    Giovanni Hidalgo

    Giovanni Hidalgo Giovanni Hidalgo a.k.a. “Mañenguito” (born November 22, 1963) is an educator, percussionist and recording artist in the genre’ of Latin jazz. Hidalgo was born in San Juan, Puerto Rico where he received his primary education. His grandfather had also been a musician, as well as his father José Manuel Hidalgo “Mañengue”, who was a renowned conga player. Therefore, Hidalgo was raised in a household surrounded by drums, bongos, congas and timbales.[1] He received a conga for his eighth birthday which had been handmade by his father. As a young child he practiced and developed his speed and playing skills on the conga and on the other instruments in his house. Hidalgo would drum a tune with sticks and then play the same tune with his hands. Musical career Hidalgo auditioned and was hired by the Batacumbele Band in 1980. In 1981, he traveled with the band to Cuba where he met a musician by the name of José Luis Quintana “Changuito”. Together they were able to create a unique style of rhythm and ushered in a new musical era in Latin music.[1][2] In 1985, Hidalgo was performing with Eddie Palmieri at The Village Gate in New York City, when the legendary jazz musician Dizzy Gillespie walked in and listened to Hidalgo play. He was so impressed with Hidalgo that he told him that someday in the future they must get together and play. In 1988 Hidalgo joined Gillespie’s United Nation Orchestra.[1] In 1992, he was hired as an adjunct professor at the Berklee College of Music in Boston, Massachusetts.
  • Mickey Hart: Still Drumming at the Edge of Magic

    Mickey Hart: Still Drumming at the Edge of Magic

    Mickey Hart Still Drumming at the Edge of Magic “Amazing, gratifying, humbling,” is how Mickey Hart describes the experience of joining the ranks of the PAS Hall of Fame. “Being with all the greats—Tito [Puente], Baba [Olatunji], Buddy Rich, Gene Krupa, Louis Bellson. These are my teachers, my mentors, the brother and sisterhood. I ride on the shoulders of giants,” he says with surest convic- tion. “It’s what came be- fore you that makes you what you are. All those legends that came be- fore me motivated me to continue and continue and continue.” By B. Michael Williams PERCUSSIVE NOTES 12 noveMBER 2009 ickey Hart could have been already in the planning stages for Global Drum content being a rock Project II, so stay tuned! Rhythm is at the star. For nearly thirty Hart’s enthusiasm for world percussion years, he was a driving was a natural outgrowth of his collabora- very center of our lives. force behind the Grate- tion with fellow Grateful Dead drummer Bill ful Dead. The group was Kreutzmann. Every concert included a half- By acknowledging this fact inducted into the Rock and hour drum extravaganza by the duo dubbed Roll Hall of Fame in 1994. the “Rhythm Devils.” These extended percus- and acting on it, our potential Throughout his tenure with the Dead, and sion experiences (one cannot call them simply even in his earliest formative years, Hart trav- “drum solos”) introduced countless audiences for preventing illness and eled his own path, fueled by an indescribably (known affectionately as “Dead Heads”) to powerful need to connect with the drumming an ever-expanding collection of percussion maintaining mental, physical, ancestry shared by all percussionists.