COFAC Today Spring 2015
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The Exotic Rhythms of Don Ellis a Dissertation Submitted to the Peabody Institute of the Johns Hopkins University in Partial Fu
THE EXOTIC RHYTHMS OF DON ELLIS A DISSERTATION SUBMITTED TO THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS BY SEAN P. FENLON MAY 25, 2002 © Copyright 2002 Sean P. Fenlon All Rights Reserved ABSTRACT Fenlon, Sean P. The Exotic Rhythms of Don Ellis. Diss. The Peabody Institute of the Johns Hopkins University, 2002. This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The New Rhythm Book (1972), and Rhythm (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis’s important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis’s most rhythmically-complex and also most-popular compositions. iii ACKNOWLEDGMENTS I wish to extend my heartfelt thanks to my dissertation advisor, Dr. John Spitzer, and other members of the Peabody staff that have endured my extended effort in completing this dissertation. Also, a special thanks goes out to Dr. H. Gene Griswold for his support during the early years of my music studies. -
Ultrafaux's Tangent
ULTRAFAUX’S TangenT A Stylistic and Rhythmic Adventure by Kris Belgica ritical praise has greeted Tangent, the latest album by Ultrafaux, Baltimore’s well-known gypsy jazz ensem- Cble. Tom Cole, senior editor for arts, music, and cul- ture on NPR/Pacifica Radio, writes: “Ultrafaux stands out from all of the other Django Reinhardt-inspired bands be- cause they perform original material.” Sam Sessa of the Tow- son-based radio station WTMD says, “Just when you think you’ve got this band pegged, they surprise you. This is some of their most adventurous and beguiling music yet.” Ultrafaux is composed of musical powerhouses Michael Joseph Harris (lead guitar), Sami Arefin (rhythm guitar) and Zach Serleth (upright bass). Their original gypsy- jazz-in- spired compositions range from melodic tongue-twisters to carefully crafted musical dialogues. Much of their musical personality is drawn from a combi- “Just when you think you’ve got this band nation of international styles, such as French musette, Brazil- ian choro, Romani folk songs, and Balkan music. In their pegged, they surprise you.” fourth album, Tangent, they reflect such traits as key shifts, the inclusion of movements, odd meters, and chromaticism. The first track is “Jaguar,” a composition rich in exploration Their sound is also influenced by Romantic classical com- and imagination. The song has a driving introduction that posers Debussy and Ravel, but above all, by the music of creates a sense of adventure and excitement, reminiscent of Django Reinhardt, a Romani-French jazz guitarist and com- the theme songs of popular television series such as The Walk- poser of the 1930s-40s. -
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. -
The Legacy of S Ta N K E N to N
THE UNITED STATES ARMY FIELD BAND JAZZ AMBASSADORS The Legacy of S TA N K ENTON Washington, D.C. “The Musical Ambassadors of the Army” he Jazz Ambassadors is the Concerts, school assemblies, clinics, T United States Army’s premier music festivals, and radio and televi- touring jazz orchestra. As a component sion appearances are all part of the Jazz of The United States Army Field Band Ambassadors’ yearly schedule. of Washington, D.C., this internation- Many of the members are also com- ally acclaimed organization travels thou- posers and arrangers whose writing helps sands of miles each year to present jazz, create the band’s unique sound. Concert America’s national treasure, to enthusi- repertoire includes big band swing, be- astic audiences throughout the world. bop, contemporary jazz, popular tunes, The band has performed in all fifty and dixieland. states, Canada, Mexico, Europe, Ja- Whether performing in the United pan, and India. Notable performances States or representing our country over- include appearances at the Montreux, seas, the band entertains audiences of all Brussels, North Sea, Toronto, and New- ages and backgrounds by presenting the port jazz festivals. American art form, jazz. The Legacy of Stan Kenton About this recording The Jazz Ambassadors of The United States Army Field Band presents the first in a series of recordings honoring the lives and music of individuals who have made significant contri- butions to big band jazz. Designed primarily as educational resources, these record- ings are a means for young musicians to know and appreciate the best of the music and musicians of previous generations, and to understand the stylistic developments leading to today’s litera- ture in ensemble music. -
Jazz Studies Handbook 2021-2022
BOB COLE CONSERVATORY OF MUSIC California State University, Long Beach JAZZ STUDIES HANDBOOK 2021-2022 1 TABLE OF CONTENTS Welcome to “Jazz at the Beach” 4 The Jazz Studies Faculty 5 Applied Lessons 8 Performance Ensembles 10 Scholarships & Financial Aid 13 Incoming Student Audition Requirements 14 Ensemble Placement Auditions 15 Ensemble Requirements and Protocol 18 B.M. in Jazz Studies Curriculum 21 M.M. in Jazz Studies Curriculum 21 Jazz Course Descriptors 22 Jury Requirements 25 Instrumental Jazz Juries 26 Instrumental Tune Lists 28 Vocal Jazz Juries 30 Recital Guidelines 32 Instrumental Jazz Recital Content 34 2 Vocal Jazz Recital Content 35 Recital Approval 36 Sample Recital Approval Worksheet 37 Planning Your Coursework 38 Building Your Professional Network 40 Performance Policies 41 Concert and Jazz Forum Attendance 43 Miscellaneous Performances 45 Tour Policies 46 Jazz Area Meetings 48 Contact Information 49 3 WELCOME TO “JAZZ AT THE BEACH” In 1975, California State University, Long Beach became the first university in California and one of fifteen in the nation to offer a degree in Jazz Studies. “Jazz at the Beach” has become one of the most respected collegiate jazz studies programs in the United States. College Factual magazine listed CSULB as the “#1 Best Value For The Money” in California and in the top 15% for nation. Our campus is situated less than three miles from the Pacific Ocean in one of the most desirable microclimates in Southern California. Long Beach is California’s 7th largest city, yet it has a small town feel. Our proximity to the world’s largest entertainment center allows our students to start building their professional networks while still in school. -
South Central Chapter Conference
2014 South Central Chapter Conference March 7-8, 2014 The University of Arkansas – Fort Smith Fort Smith, Arkansas 2014 South Central Chapter Conference PROGRAM Conference Schedule Biographies, Abstracts, & Program Notes Pre-Registrant List ACKNOWLEDGMENTS The South Central Chapter extends heartfelt thanks to the following people and groups for their many contributions, all of which helped make this conference possible: Conference & Program Committee Members Chair: Donald W. Bowyer Host: Alexandra Zacharella Keynote Speaker: James Hart Composition Proposal Review Committee Phillip Schroeder, chair; Paul Dickinson, Ruth Morrow Paper/Presentation Proposal Review Committee Michael Drapkin, chair; Stefanie Dickinson; Terry Lynn Hudson; Patricia Surman Elections, Nominations, & Host Search Chair Louis Young Also: The University of Arkansas – Fort Smith Administration, Faculty, Staff, and Student Ensembles Holiday Inn City Center – Fort Smith Lambda Kappa Chapter of Kappa Kappa Psi 2013 Board of Directors & Officers President Shannon Small Immediate Past President Daniel C. Adams President Elect currently open Vice President Vicky V. Johnson Secretary Stefanie C. Dickinson Treasurer Katrin Meidell Composition currently open Ethnomusicology Lauren Lyman Jazz currently open Member at Large Shannon M. Unger Musicology Ruth E. Morrow Music Business Michael Drapkin Music Education Jeri Walker Music in General Studies Louis G. Young Music Theory Nico S. Schuler Newsletter Editor currently open Instrumental Performance Patricia Surman Vocal Performance Melody A. Baggech Student Representative Justin R. Glosson Welcome from the South Central Chapter President Dear Colleagues and Friends, Welcome to the College Music Society's, South-Central Regional Conference at the University of Arkansas – Fort Smith! We are very excited that you are here for our 29th Regional Conference. -
SPRING 2020 INSIDE THIS EDITION Jam Sessions
SPRING 2020 INSIDE THIS EDITION Jam Sessions . 2 Calling: The Anansi Trio . 4 BALTIMORE JAZZ ALLIANCE Hank Levy Charts to be added to Towson Library Archives . 6 In Memoriam: Vernard Gray . 10 The Gail Marten Songbook . 11 BJA? Here’s Why! . 12 Tony Ziesat’s The Roller Coaster of Love . 14 Before They Played Jazz . 17 Where Are They Now? . 17 VOLUME SIXTEEN • ISSUE TWO • THE BJA NEWSLETTER • WWW.BALTIMOREJAZZ.COM Baltimore Trad Jazz Jam ERIC KENNEDY By Kris Belgica Music Is a Healing Force Baltimore is enjoying another successful jazz jam, this time By Mitch Mirkin featuring blaring, brassy melodies, the playful articulation of the clarinet and the “chunk-chunk” of the banjo. These are some of the hallmarks of the New Orleans sound—tradi- tional, or “trad” jazz. Started by local musician Zach Serleth, Baltimore Trad Jazz Jam now happens most Tuesdays, hosted by De Kleine Duivel, a popular bar in Hampden tucked below The Bluebird Café, where they currently allow patrons to bring in outside food. De Kleine Duivel (“the little devil,” in Flemish) is a perfect venue for a night out to revel in mu- sical nostalgia or just enjoy a delicious Belgian ale. The house band consists of Jon Mathis (trumpet), Seth Kibel (clarinet), Brian Priebe (trombone), Ed Goldstein (tuba), Sami Arefin (lead guitar) and Zach Serleth, who cycles among upright bass, rhythm guitar, and banjo. The jam be- PHOTO CREDIT: CHUKA JENKINS gins with an hour of music from the house band, then opens Drummer and vocalist Eric Kennedy has toured the up to others. -
BUMPER CROP II: All Out-Standing in Their Field Again Features Brian O’Kane and Also Our Fine Pianist Steven Scharfstein
…And now for the heavier comments. I originally began Finally, But Not For One was a fun way to end this project. It is a modern swinger that The Recording: Thank you!!! composing Your Absence is Noted after hearing of the BUMPER CROP II: All Out-Standing in Their Field again features Brian O’Kane and also our fine pianist Steven Scharfstein. This piece Wayne Giesbrecht and I have annually collaborated on these U of S jazz band recordings This CD would not have been possible were it not for the support of the following: tragic death of Canadian alto saxophonist Calder Spanier was commissioned while I was conducting the University of North Texas Four O’Clock since the spring of 1999, as sound engineer and producer respectively. Over the years, ???University of Saskatchewan President Peter MacKinnon Track Composer Arranger in 1997. Calder was a dear friend of mine in college and Lab Band. The UNT band and I agreed to ask UNT alumnus Bret Zvacek to write for us we have used more and more sophisticated recording technology in order to improve ???College of Arts and Science Acting Dean Dr. Keith Taylor one of the finest young jazz musicians in Canada at that whatever he wanted. We chose Bret as our composer for the project because of his 1) I Left My Heart in San Francisco George Cory & Douglass Cross Billy Byers time (1987-88). In 1997 he was killed in a car accident the sound quality of the final product. This spring we recorded simultaneously onto ???College of Arts and Sciences Associate Dean of Humanities and Fine Arts, open-mindedness and his insight as a prolific jazz artist. -
SPRING 2020 Music Is a Healing Force Baltimore Trad Jazz
SPRING 2020 INSIDE THIS EDITION Jam Sessions . 2 Calling: The Anansi Trio . 4 BALTIMORE JAZZ ALLIANCE Hank Levy Charts to be added to Towson Library Archives . 6 In Memoriam: Vernard Gray . 10 The Gail Marten Songbook . 11 BJA? Here’s Why! . 12 Tony Ziesat’s The Roller Coaster of Love . 14 Before They Played Jazz . 17 Where Are They Now? . 17 VOLUME SIXTEEN • ISSUE TWO • THE BJA NEWSLETTER • WWW.BALTIMOREJAZZ.COM Baltimore Trad Jazz Jam ERIC KENNEDY By Kris Belgica Music Is a Healing Force Baltimore is enjoying another successful jazz jam, this time By Mitch Mirkin featuring blaring, brassy melodies, the playful articulation of the clarinet and the “chunk-chunk” of the banjo. These are some of the hallmarks of the New Orleans sound—tradi- tional, or “trad” jazz. Started by local musician Zach Serleth, Baltimore Trad Jazz Jam now happens most Tuesdays, hosted by De Kleine Duivel, a popular bar in Hampden tucked below The Bluebird Café, where they currently allow patrons to bring in outside food. De Kleine Duivel (“the little devil,” in Flemish) is a perfect venue for a night out to revel in mu- sical nostalgia or just enjoy a delicious Belgian ale. The house band consists of Jon Mathis (trumpet), Seth Kibel (clarinet), Brian Priebe (trombone), Ed Goldstein (tuba), Sami Arefin (lead guitar) and Zach Serleth, who cycles among upright bass, rhythm guitar, and banjo. The jam be- PHOTO CREDIT: CHUKA JENKINS gins with an hour of music from the house band, then opens Drummer and vocalist Eric Kennedy has toured the up to others. -
Basie, Ballads, Bebop & Blues
BASIE, BALLADS, BEBOP & BLUES RECOMMENDED CLASSIC & NEWER WORKS FOR THE JAZZ ENSEMBLE, GRADES 2 – 4+ Compiled by Dr. Michael Parkinson Chair, Department of Music Webster University, St. Louis, Missouri © 2006 Educational Specialist – Benge Trumpets, C. G. Conn Instruments With the assistance of Robert Waggoner, Jim Cochran, and Ron Allen Works selected from the following publishing sources: Advance, Alfred, Barnhouse, Doug Beach (Kendor), CPP-Belwin, DPZ, FJH, Hal Leonard Heritage, Increase Music, JPM, Jazz at Lincoln Center (Alfred-JLC), Kendor, Kjos, Little Bear, Ludwig, Matrix, Really Good Music, Second Floor (Leonard), Sierra, Smart Chart, Stitzel, Three-Two, UNC & Walrus Bold face = recommended works; CAPITALIZED = outstanding choices, * Playable by a smaller ensemble BALLADS: TITLE: COMP/ARR: SOURCE and/or RECORDING: FEATURES: PUB: GR: AFTER YOU’VE GONE Layton/M. Taylor 1920s standard, Publisher’s disc Swing 8th, ensemble, piano Leonard 4 All The Things You Are J. Kern/S. Kenton 1950s Stan Kenton Orchestra Trombones, piano, sax soli Sierra 4 ALWAYS & FOREVER P. Metheny/B. Curnow 1990s Pat Metheny Group & Bob Curnow Big Band Alto sax, flugel horn, or guitar Sierra 4 At First Light Ellen Rowe Original , publisher’s disc Alto sax, light rock ballad Sierra 3 AUTUMN Bob Florence 1980s Bob Florence Orchestra (opt. doubles) Tenor sax feature Walrus 4 Black, Brown & Beautiful Oliver Nelson 1970s Oliver Nelson Orchestra Alto Sax (Johnny Hodges) Sierra 3 BLUE B. Shew/G. Brisker 1970s Louie Bellson Orchestra Trumpet (Bobby Shew) Beach/Kendor 4 Blue & Sentimental C. Basie/R. Phillippe 1940s Count Basie Orchestra Various, ensemble Leonard 2 BLUE FLAME J. Noble/P. Murtha 1940s-80s Woody Herman Orchestra theme song Various, ensemble Leonard 2+ THE BLUES Don Ellis 1970s Don Ellis, ‘Live at the Fillmore” Trumpet, ensemble UNC 3+ Body & Soul J. -
New Mexico State University Symphonic Winds Ken Van Winkle, Conductor Records New Mexico State University Symphonic Winds
entra Symphonic Winds is the top wind ensemble and heart of the wind and percussion department at New Mexico State University. This elite ensemble meets both fall and spring semesters performing major works both old and new. Made up of music major and non-major undergraduate students and graduate music majors, “Winds” highlights the talents of the finest wind and percussion students on campus. Auditions are held once each fall and spring semester and are open to all interested students. The ensemble has performed throughout the Southwest including the New Mexico Music Educators conference and the Southwestern Division of the College Band Directorse National Association. The group has been active in the commission of new works and hast participated in numerous collaborative commission projects includingn new band worksa by Michael Torke, David Maslanka, r David Gillingham, and Jack Stamp. Music of fuge Charles L. Booker Jr. New Mexico State University Symphonic Winds Ken Van Winkle, Conductor Records New Mexico State University Symphonic Winds Music of Charles L. Booker Jr. Piccolo Bass Clarinet Trombone Danielle Natay Sara Robb Ralph Cena Selections New Mexico State University Alex Cruz Flute Alto Saxophone John Humphreys 1 Centra-fuge 6:25 Wind and Percussion Faculty Sonia Candelaria Javier Ayala Tyler Jordan 2 The Rough Rider 10:46 Ms. Page Bartz -- bassoon Chelsey Fields Vincent Sanchez Dr. Laroy Borchert -- clarinet Jill Hall Euphonium American Dances Dr. Fred Bugbee -- percussion Melanie Williams Tenor Saxophone Melissa Primavera 3 La’ Bossa - Allegro 4:40 Mr. Carl Fels -- oboe 4 La’ Blues - Lento 3:16 Ms. Nancy Joy -- horn Mary Cate Burns James Romero 5 La’ Fusion - Tempo di Grimo 4:25 Dr. -
The Legacy of H a N K L E V Y
THE UNITED STATES ARMY FIELD BAND JAZZ AMBASSADORS The Legacy of H ANK L EVY Washington, D.C. “The Musical Ambassadors of the Army” 1 he Jazz Ambassadors is the Concerts, school assemblies, clinics, mu- T United States Army’s premier sic festivals, and radio and television ap- touring jazz orchestra. As a component pearances are all part of the Jazz Ambas- of The United States Army Field Band of sadors’ yearly schedule. Washington, D.C., this internationally ac- Many of the members are also com- claimed organization travels thousands of posers and arrangers whose writing helps miles each year to present jazz, America’s create the band’s unique sound. Concert national treasure, to enthusiastic audi- repertoire includes big band swing, bebop, ences throughout the world. contemporary jazz, popular tunes, and The band has performed in all fifty dixieland. states, Canada, Mexico, Europe, Japan, Whether performing in the United and India. Notable performances include States or representing our country over- appearances at the Montreux, Brussels, seas, the band entertains audiences of all North Sea, Toronto, and Newport jazz ages and backgrounds by presenting the festivals. American art form, jazz. The Legacy of HANK LEVY About This Recording The Jazz Ambassadors of The United States Army Field Band presents the second in a series of recordings honoring the lives and music of indi- viduals who have made significant contributions to big band jazz. Designed primarily as educational resources, these recordings are a means for young musicians and their instructors to know and appreciate the best of the music and musicians of previous generations, and to un- derstand the stylistic developments that led to the current repertoire.