Dave Bennett “Bill Schoening Presents” Burt Wilson
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BRIAN HOLLAND and DANNY COOTS Sunday, September 21St, at 2Pm
I'm pleased to announce and promote a concert here at Skunk Hollow Victorian Garden for BRIAN HOLLAND AND DANNY COOTS Sunday, September 21st, at 2pm Tickets in advance: $20, at the door $25. ALL PROCEEDS GO TO THE PERFORMERS. Send your check for either Brian or Danny to: Arlo Lusby POB 431 Sutter Creek, Ca. 95685 A call to my home phone will serve as advanced purchase: 209-267-8193. Please leave a message if I'm not available. Our usual format of potluck refreshments are encouraged; I will be serving light refreshments and my famous SKUNK HOLLOW VICTORIAN GARDENS wine with Brian and Danny's name on the label; you may to purchase a bottle for them to autograph as a memento for $8.00. Brian Holland Brian Holland, having performed ragtime, jazz and stride piano for over 30 years, continues to be one of the most sought after artists in the country. Classically trained, but with a keen ear for improvisation, Brian’s approach to the piano is marked by a dynamic, driving style that has been described as clear as Waterford crystal. Beginning his musical existence at the age of three, Brian grew up living a “Ragtime Life.” His grandparents raised him to love all kinds of music; however, styles from the early 20th century became his passion. He quickly learned his way around an organ keyboard and had a repertoire of old standards that would shock most professionals - all before the age of six. It was then that he turned his attention to the piano. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
The Album Was Recorded in the Sessions Described in the Original Liner Notes Which Follow
The album was recorded in the sessions described in the original liner notes which follow. Two of the tracks that appear here- "Fillie Trillie" and "Satin Doll"---were part of the same recording sessions, but were not included on the album originally released, thus are not discussed in the notes that follow. The album began as a single recording session during which we intended to record three or four of Duke's recent compositions for release sometime in the future. It began early one afternoon in February when the band arrived back in New York from a long stay in Florida, and before we even began, the session was turning into a welcome-home party for Duke. Dozens of fans appeared in the studio, among them Dizzy Gillespie (with trumpet) and Jimmy Rushing, who likes to listen to big bands, and Jimmy Jones, who just happened to be passing by. As the crowd gathered Duke was on the phone calling his group of nine percussionists, and the studio lobby was filling up with kettle drums and xylophones. Chairs were set up for our unexpected audience, and Duke, with the innocent expression of a small boy who has just dropped a match into a gas tank, said, "Let's see what happens:" Last summer, between jazz festivals, Ellington introduced at New York's Lewisohn Stadium one of the dizzier flights of musical fancy in his long career. From the city's symphonic musicians he drew nine men to play a couple of short pieces written to feature a full set of tympani and a line of vibraphones and marimbas and xylophones long enough to stretch from one side of the large stage to the other. -
The Professors on Aug. 14 Election Results / Jazz in the Park
Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. 2787 Del Monte Street • West Sacramento, CA 95691 • (916) 372-5277 • www.sacjazz.org & .com VOLUME 43 • NO. 6 JULY 2011 All stars, all ours for one day: Ad rates.............................................................2 Dante Club – info/directions.........................2 Dante Club Notes. The Cricket.....................8-11 The Professors on Aug. 14 Election results / Jazz in the Park..................4 Future Festivals.............................................12 In Loving Memory..........................................11 In the Months Ahead.......................................2 Jazz Festival & Jubilee PHOTOS..................6-7 Jazz Notes.......................................................12 Membership application..............................16 Musicians / Music Here & There...................13 Notes from the Office Greg Willett.................2 Patron Members............................................10 President’s Message Tom Duff........................3 Raffle Cents Kathy Becker..............................11 “Jazz Sunday” info ➤ pg. 2 See.photos.on.pages.8–9.from June.12.with.Pieter.Meijers (From top row, left to right) Eddie Metz, Rusty Stiers, Jason Wanner, Eddie Erickson, Anita Thomas, Shelley Burns, Bill Dendle, Lee Westenhofer he Professors is truly an all-star musicians at one Jazz Sunday. The Pro- Tband, comprising arguably the best fessors include: Rusty Stiers, tpt; Anita performers on their instruments in the Thomas, reeds; Bill Dendle, tbn; Eddie USA, and in some cases, the world. Erickson, bnj/gtr; Jason Wanner, p; Lee How amazing and incredible for STJS “Westy” Westenhofer, tb; Eddie Metz, to be able to present all these great dr; Shelley Burns, voc. (cont. on pg. 5) Sunday, July 10 Last chance to sign up for Au.Brothers.•.Beth.Duncan.Quartet.•.Cunha.Big.Band. -
Sacramento Ragtime Society Newsletter
SACRAMENTO RAGTIME SOCIETY NEWSLETTER by Chris Bradshaw by Keith Taylor, other festival performers o diamond in the rough, this pol- Andrew Barrett, John Remmers, the Brad- Nished gem of a festival, held August shaws, and Stevens Price joined him for a 14-16, 2009 in Sutter Creek, glimmered festival teaser. Good food, a great piano and glittered from beginning to end. An and a warm and encouraging audience unique celebration of vintage American made for a wonderful evening. Music encompassing ragtime, stride, boo- As is tradition, Friday’s festival opened gie and blues, the 11th annual Sutter in the Ice Cream Emporium amidst the rev- Creek Ragtime Festival sparkled with tal- erie of an excited, ice cream spooning, ent, enthusiastic listeners and the special soda slurping audience with Keith Taylor, chemistry that just happens when you dishing up a tasty original take on Original bring together professional performers Rags (1899) by Scott Joplin. Another with die-hard ragtime fans. The outcome-a standout performance during the festival melange of theater concerts, youth perform- from Keith’s eclectic repertoire was his ances, silent movies, instrumental en- own Ghosts of Sutter Creek (2007), one of sembles, the Town Square Harmonizers barbershop quartet, two great festival See continued on page 4 shows and plenty of fine solo sets all joy- ously celebrating the In This Issue best of the ragtime era--was a series of ma- gical moments strung together as gleaming pearls, from the first note to the last. Setting the tone was the pre-festival event held Thursday evening at the Green- horn Creek Resort in Angels Camp. -
Rondo Oral History Project Minnesota Historical Society
Transcript of an oral history interview with Bernice Wilson with comments by daughter PATRICIA WILSON CRUTCHFIELD Thursday, March 20, 2003 at Crutchfield Residence Saint Paul, Minnesota Interviewed By Kateleen Hope Cavett Project as part of Society HAND in HAND's RONDO ORAL HISTORY PROJECT Saint Paul,History Minnesota Bernice Wilson did this interview at the age of eighty-two years. Mrs. Wilson discusses her disgust over the lack of respectable employment opportunities and frustration over theHistorical conservative laws that existed in Minnesota when she movedOral to Saint Paul from Chicago in 1949. Mrs. Wilson advised that she was a mother first, but at our request she details the social clubs the existed in the Black community. These clubs were created because Blacks were not welcome at many White owned establishments. She states, ''It was a fantastic social life, a fantastic social life." She describes the community support when her husbandRondo and son died, and her love for traveling. Pat Wilson Crutchfield, at age fifty-seven years, shares her mother's memory of the community support when her father passed away, and also discusses her involvementMinnesota in the church, and her experiences being raised as a "village child," as in the old African proverb, ''It takes a village to raise a child." This is a verbatim transcript of a taped interview, edited for clarity. Signed releases are on file from Mrs. Wilson and Mrs. Crutchfield. 3 BW: Bernice Wilson KC: Kate Cavett BW: I'm Bernice Wilson,1 mother of Patricia Wilson. Do you want to know where I live? KC: I'd love to know where you live. -
Jul/Aug 2014 Volume 18, Issue 3
Bimonthly Publication of the Central Florida Jazz Society BLUE JUL/AUG 2014 VOLUME 18, ISSUE 3 NOTES Your ticket purchase to attend the th ALL THAT JAZZ party on August 10 at The Mezz will directly benefit the education and training of future Jazz artists. (See flyer inside this issue for more details.) Have fun while doing your bit for Jazz! Yowsah! All That Jazz encompasses Ragtime, Classic, Chicago, Kansas City, New Orleans/Dixieland, Bossa Nova, Afro-Cuban, Latin and many more styles! Hot Jazz – think Louis Armstrong and Jelly Roll Morton. Swing or Big Band – think Benny Goodman, Count Basie, Tommy Dorsey, Duke Ellington. Bebop – think Charlie Parker, Thelonious Monk, Dizzy If you would like to join other supporters of Gillespie, Dexter Gordon, Bud Powell. the Central Florida Jazz Society Legacy West Coast – think Miles Davis, Stan Getz, Gerry Mulligan, program by including us in your estate plans, Paul Desmond, Chet Baker. please contact our Gift Planning Liaison at Hard Bop – think Art Blakey, Horace Silver, Lee Morgan, 407-977-2148 or via e-mail to Cannonball Adderly. [email protected]. Modal – think Miles Davis, John Coltrane, Bill Evans, McCoy Tyner. Fusion – think Chick Corea, Joe Zawinul, Wayne Shorter. Neo-Classical -- At the end of the 1970s/early 1980s, jazz had become so fused with Rock and other forms of music that it was LIVE from the beginning to become hard to tell where jazz began and ended. Many WUCF Studios! people were proclaiming that "Jazz is dead." Some of the younger Mon Aug 18th 1:00-2:00PM players didn't care for the directions jazz took with Free Jazz and Fusion in the 1960s and 1970s and decided to look backwards for inspiration. -
Challenging Authenticity: Fakes and Forgeries in Rock Music
Challenging authenticity: fakes and forgeries in rock music Chris Atton Chris Atton Professor of Media and Culture School of Arts and Creative Industries Edinburgh Napier University Merchiston Campus Edinburgh EH10 5DT T 0131 455 2223 E [email protected] 8210 words (exc. abstract) Challenging authenticity: fakes and forgeries in rock music Abstract Authenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This paper examines the nature and motives of faking in recorded music, such as inventing imaginary groups or passing off studio recordings as live performances. In addition to a survey of types of fakes and the motives of those responsible for them, the paper presents two case studies, one of the ‘fake’ American group the Residents, the other of the Unknown Deutschland series of releases, purporting to be hitherto unknown recordings of German rock groups from the 1970s. By examining the critical reception of these cases and taking into account ethical and aesthetic considerations, the paper argues that the relationship between the authentic (the ‘real’) and the inauthentic (the ‘fake’) is complex. It concludes that, to judge from fans’ responses at least, the fake can be judged as possessing cultural value and may even be considered as authentic. 1 Challenging authenticity: fakes and forgeries in rock music Little consideration has been given to the aesthetic and cultural significance of the inauthentic through the production of fakes in popular music, except for negatively critical assessments of pop music as ‘plastic’ or ‘manufactured’ (McLeod 2001 provides examples from American rock criticism). -
Stomp 39 He Joint Was Packed, the Dance Floor Twas Jumping, and the Music Was HOT
Volume 36 • Issue 4 April 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Stomp 39 he joint was packed, the dance floor Twas jumping, and the music was HOT. In a nutshell, the NJJS’s annual Pee Wee Russell Memorial Stomp delivered the goods for the 39th straight year. The fun began at noon with a set of modern The musician of the year award jazz classics, smoothly performed by a septet was presented to Eddie Bert. of Jersey college players, and was capped five The octogenarian trom- hours later by some rocking versions of bonist drove down from Swing Era standards by George Gee’s Jump, his home in Jivin’ Wailers Swing Orchestra, who closed Connecticut to pick the show to rousing applause. In between, up his award, but had the clock was turned back to the 1920s and to leave early to get ’30s as vocalist Barbara Rosene and group, back for a gig later in the Jon Erik-Kellso Group and the Smith the day! Street Society Band served up a tasty banquet And John Becker, who had been of vintage Jazz Age music. The Hot Jazz fans unable to attend the NJJS Annual in the audience ate it all up. Meeting in December, was on hand to There were some special guests in attendance receive the 2007 Nick Bishop Award. at the Birchwood Manor in Whippany on The event also featured the presenta- March 2. NJJS President Emeritus, and tion of annual NJJS Pee Wee Russell Stomp founder, Jack Stine, took the stage to scholarship awards to five New present Rutgers University Institute of Jazz Jersey jazz studies college students. -
Christopher A. Reynolds Collection of Women's Song
http://oac.cdlib.org/findaid/ark:/13030/kt1t1nf085 No online items Inventory of the Christopher A. Reynolds Collection of Women's Song Sara Gunasekara & Jared Campbell Department of Special Collections General Library University of California, Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2013 The Regents of the University of California. All rights reserved. Inventory of the Christopher A. D-435 1 Reynolds Collection of Women's Song Collector: Reynolds, Christopher A. Title: Christopher A. Reynolds Collection of Women's Song Date (inclusive): circa 1800-1985 Extent: 15.3 linear feet Abstract: Christopher A. Reynolds, Professor of Music at the University of California, Davis, has identified and collected sheet music written by women composers active in North America and England. This collection contains over 3000 songs and song publications mostly published between 1850 and 1950. The collection is primarily made up of songs, but there are also many works for solo piano as well as anthems and part songs. In addition there are books written by the women song composers, a letter written by Virginia Gabriel in the 1860s, and four letters by Mrs. H.H.A. Beach to James Francis Cooke from the 1920s. Physical location: Researchers should contact Special Collections to request collections, as many are stored offsite. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California 95616-5292 Collection number: D-435 Language of Material: Collection materials in English Biography Christoper A. Reynolds received his PhD from Princeton University. He is Professor of Music at the University of Californa, Davis and author of Papal Patronage and the Music of St. -
SILAS WRIGHT AMD TEE ANTI-RENT WAR, 18¥F-18^6
SILAS WRIGHT AMD TEE ANTI-RENT WAR, 18¥f-18^6 APPROVED: Ail Mayor Professor Minor Professor "1 director of the Department of History ,7 -7 ~_i_ ^ / lean'of the Graduate School" SILAS WEIGHT AND THE ANT I-BENT WAR, 18HV-18^-6 THESIS Presented to the Graduate Council of the North Texas State University In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Eldrldge PL Pendleton, B. A. Denton. Texas January, 1968 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS ii Chapter I. THE NEW YORK LEASEHOLD SYSTEM AND THE ANTI-RENT REBELLION 1 II. SILAS WRIGHT - RELUCTANT CANDIDATE 28 III. "MAKE NO COMPROMISES WITH ANY ISMS." 59 IV. THE FALL OF KING SILAS ............ 89 APPENDIX ... 128 BIBLIOGRAPHY 133 LIST OF ILLUSTRATIONS Figure Page 1. Leasehold Counties in New York 18V+-18V6 132 ii CHAPTER I THE NEW YORK LEASEHOLD SYSTEM AND THE ANTI-RENT REBELLION Silas Wright was one of the most universally respected Democrats of the Jacksonian period. As United States Senator from 1833 to 18M+, he established a record for political integrity, honesty, and courage that made him a valuable leader of the Democratic Party and gained for him the respect of the Whig opposition. Wright's position in Washington as a presidential liaison in the Senate caused him to play an influential role in both the Jackson and Van Bur9:1 administrations. He maintained a highly developed sense of political Idealism throughout his career. Although Wright was aware of the snares of political corruption that continually beset national politicians, his record remained irreproachable and untainted.^ The conditions of political life during the Jacksonian era were an affront to Wright's sense of idealism- Gradually disillusioned by the political . -
BSR Offbeat July SS 619.Pub
Basin Street Regulars • The Central Coast Hot Jazz Society June 2019 Page 1 Mission Gold Jazz Band JUNE SUNDAY SESH! The Mission Gold Jazz Band from Fremont California and Judith and the Jazz Krewe from the 5-Cities area will be playing “Hot Swingin’ Jazz” at the Basin Street Regulars’ Sunday afternoon Concert 1:00 to 4:30 at the Pismo Beach Veteran’s Memorial Building, 780 Bello Street on Sunday, June 30. Jam session of performing the music of Jelly Roll Morton, starts at 11:00 (bring your instrument and join King Oliver, Lu Watters and Turk Murphy. The in). Admission is $5 members, $10 Non- band plays standards and more common members. Annual single membership $25. swing tunes. The main goal is to please the Annual under 26, $15. Couples $40, Family dancers, strutters, and jazz listeners. $50, Silver $100. For more information call They offer a variety of Dixieland styles, (805) 481-7840 or go to www.pismojazz.com . including Marches, Blues, Ragtime and Email at: [email protected] . Stomps, and encourage audience The Basin Street Regulars is a 501 (c )(3) participation during tunes reminiscent of the Organization, dedicated to the performance era: cakewalking, parasol strutting and to and preservation of Traditional “Hot Swingin’” raising their voices to sing along. Jazz. Funds from this event support jazz Personnel: Cornets- Noel Weidkamp and camp scholarships for area teens and young Rich Newcomb; Reeds- Roberto Alfaro; Piano adults. - Virginia Tichenor; Banjo- Jack Wiecks; Mission Gold Jazz Band Drums- Paul Campana; Tuba- Bob Sterling; Trombone and Leader- John Soulis.