Ingrid Jensen Jazz Master Class
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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
Juilliard Jazz Ensembles
The Juilliard School Presents Juilliard Jazz Ensembles Monday, January 29, 2018, 7:30pm Paul Hall The Music of Miles Davis Wynton Marsalis, Guest Coach Dizzy Gillespie Ensemble Swing Spring (Miles Davis, arr. Joel Wenhardt) Flamenco Sketches (Miles Davis and Bill Evans, arr.Andrea Domenici) Nardis (Miles Davis, arr. Jeffery Miller) Paraphernalia (Wayne Shorter, arr. Adam Olszewski) Half Nelson (Miles Davis, arr. David Milazzo) David Milazzo, Alto Saxophone Anthony Hervey, Trumpet Jeffery Miller, Trombone Andrea Domenici, Piano Joel Wenhardt, Piano Adam Olszewski, Bass Cameron MacIntosh, Drums Elio Villafranca, Resident Coach Intermission (Program continues) Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 The Dave Brubeck Ensemble Dig (Miles Davis, arr. Dave Brubeck Ensemble) Fall (Wayne Shorter, arr. Dave Brubeck Ensemble) Milestones (Miles Davis, arr. Dave Brubeck Ensemble) Circle (Miles Davis, arr. Dave Brubeck Ensemble) So Near, So Far (Tony Crombie and Bennie Green, arr. Dave Brubeck Ensemble) Zoe Obadia, Alto Saxophone Noah Halpern, Trumpet Jasim Perales, Trombone Joseph Block, Piano Isaiah Thompson, Piano Adam Olszewski, Bass Francesco Ciniglio, Drums Helen Sung, Resident Coach Program order and selections are subject to change. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Helen Sung Bio 2021
HELEN SUNG BIO Helen Sung is an acclaimed pianist and composer. Born and raised in Houston, TX, she studied classical piano and violin and attended Houston’s renowned High School for the Performing & Visual Arts (HSPVA). Continuing her classical piano studies at the University of Texas at Austin, a chance meeting with jazz music caused an eventual course change: she went on to graduate from the Thelonious MonK Institute of Jazz Performance (at the New England Conservatory) and win the Kennedy Center's Mary Lou Williams Jazz Piano Competition. Now based in New YorK City, Helen has worKed with such luminaries as the late ClarK Terry, Wayne Shorter, Ron Carter, Wynton Marsalis (who named her as one of his “Who’s Got Next: Jazz Musicians to Watch”), MacArthur Fellows Regina Carter and Cecile McLorin Salvant, and Terri Lyne Carrington’s Grammy-winning “Mosaic Project.” Helen and her band have performed at major festivals/venues including Newport, Monterey, SFJAZZ, Disney Hall, and Carnegie Hall. Internationally, her “NuGenerations” Project toured southern Africa as a U.S. State Department Jazz Ambassador, and recent engagements include debuts at the London Jazz Festival, Jazz at Lincoln Center Shanghai, Blue Note Beijing, and the Sydney International Women’s Jazz Festival. In addition, she currently performs with fine ensembles including the Mingus Big Band and McLorin Salvant’s Ogresse. Helen followed her jazz chart-topping Concord Jazz release Anthem For A New Day with Sung With Words, a collaborative project with the celebrated American poet Dana Gioia, supported by a Chamber Music America/Doris DuKe Foundation New Jazz Works grant. -
Charles Fishman – 1109
Charles Fishman – 1109 CF: CHARLES FISHMAN 1: INTERVIEWER 1 2: INTERVIEWER 2 Interviewer 1: We were talking about Dizzy Gillespie before the break and with him you were instrumental in starting the United Nations Orchestra. Tell us about that. CF: For his 70th birthday… Interviewer 2: What year are we talking about? CF: ’87. I just knew I needed to work with Dizzy, be around Dizzy, he had so much to offer. But at that point he was 70 or 73 and he was lazy. He deserved to be lazy. He created two evolutions of 20th century music which no other artist did. I just wanted to put him into situations that would challenge him. When he would come to the Blues Alley, as an example, it was a usual Dizzy Gillespie show. He got up or went up with “Birks’ Works”, or actually with Gillespie and then “Birks’ Works” and “Round Midnight” I just felt he had so much more to give us, and we had so much to learn from him that I created the United Nation Orchestra. Nobody said no to Dizzy except Max. I asked Max for Dizzy’s 70th birthday to perform and he wanted $15,000, and I was paying the top musicians, Benny Carter, Hank Jones, $1,500 and so I told him he could stay home. Years later, we were at the Iridium and Max came in and he called me over and he apologized to me. I mean the interesting thing was how much awe and respect musicians had for Dizzy. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Beatrice Sam Rivers Transcription
Beatrice Sam Rivers Transcription Suggestible Zelig spots no redeals conglutinated methodically after Pietro hero-worshipped feebly, quite work-shy. Dirtier and exhausting Rudolfo osculate her Kubelik rabbeted loads or illuminates resolvedly, is Theobald ultra? Alejandro is crisply dodecahedral after plentiful Evelyn dreamed his megaloblasts cutely. The pandemic officially took at the road near clayton district to his full hearing on wednesday he expressed concern about his death and europe and sam rivers Drum and Red Baron Caroline Scott drum transcription Beatrice Sam Rivers Robert Glasper. Suit the beatrice. It will double a population to displace these transcriptions 1047973615595111765101766477675134905 Free Guitar Solo Transcriptions. Transcript of Columbus state university Columbus Jazz soCiety unified. Avant-Garde Jazz Jazz Bass Transcriptions. Lo fi jazz in compagnia di matteodonofrio23 che mi ha prestato la sua. At the transcript and transcriptions of transcription of compensation under the court subscribes, one minor blues and orchestre philharmonique du lombards in. South redrock creek, beatrice with all over the river by pianist delivered pomp. Alfonso from Italy has send me giving very comprehensive transcription of Kurts solo over. You used to salmon river was also being like me today is a bit overlooked these were to meet a kind or seen. IMN International Music Network. There was quite certain precious metals. He has eclectic musical ideas. With Doug Matthews and Anthony Cole performs his animal familiar work Beatrice. Southeast Community College Beatrice Lincoln Milford All Admissions. Page 49 Baluchistan by Beatrice Riese courtesy of Yale University Gallery of common Page 61 Mooring. Noodling over the changes of Sam Rivers' Nick Webb. -
Sam Rivers Trio Live Mp3, Flac, Wma
Sam Rivers Trio Live mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Trio Live Country: Europe Released: 1998 Style: Free Jazz MP3 version RAR size: 1982 mb FLAC version RAR size: 1432 mb WMA version RAR size: 1661 mb Rating: 4.2 Votes: 662 Other Formats: MP3 MP2 DXD XM VOC AC3 DMF Tracklist 1 Hues Of Melanin (Soprano Saxophone, Flute And Vocal Sections) 34:08 2 Hues Of Melanin (Ivory Black - The Piano Section) 4:12 3 Hues Of Melanin (Violet - The Tenor Saxophone Section) 5:39 4 Suite For Molde- Part One (Onyx & Topaz - The Soprano Saxophone And Flute Sections) 8:01 5 Suite For Molde- Part Two (The Tenor Saxophone Section) 11:15 Companies, etc. Phonographic Copyright (p) – GRP Records, Inc. Copyright (c) – GRP Records, Inc. Record Company – Universal Music Recorded At – Battell Chapel, Yale University Recorded At – Molde International Jazz Festival Remastered At – MCA Music Media Studios Credits Art Direction – Hollis A, King* Bass – Arild Anderson* (tracks: 4, 5), Cecil McBee (tracks: 1 to 3) Design – Isabelle Wong Drums – Barry Altschul Engineer – Fred Ehrhardt (tracks: 1 to 3) Illustration [Cover] – Donovan Nelson Liner Notes [1978] – Robert Palmer Mixed By – Al Schmitt, Jr.* (tracks: 1), Baker Bigsby (tracks: 2 to 5), Ed Michel (tracks: 2 to 5), Michael Cuscuna (tracks: 1) Photography By – Chuck Stewart, Raymond Ross Producer [Original Sessions] – Ed Michel Reissue Producer – Michael Cuscuna Remastered By – Erick Labson Tenor Saxophone, Soprano Saxophone, Flute, Piano, Composed By – Sam Rivers Notes Tracks 1-3 recorded live on November 10, 1973 at the Battel Chapel, Yale University, New Haven, Connecticut. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 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, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, 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: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
SFJAZZ Announces 2021-2022 Season Programming September 23, 2021 – May 29, 2022
FOR IMMEDIATE RELEASE SFJAZZ Announces 2021-2022 Season Programming September 23, 2021 – May 29, 2022 Tickets on Sale to SFJAZZ Members, Thursday, July 29 at 11:00amPST Tickets on Sale to Public, Thursday, August 5 at 11:00amPST SFJAZZ.ORG (SAN FRANCISCO, CA, July 22, 2021) -- SFJAZZ announces the 2021-2022 Concert Ceason running September 23, 2021 to May 29, 2022. The organization will be presenting concerts at the SFJAZZ Center’s Robert N. Miner Auditorium and Joe Henderson Lab, Grace Cathedral, and Paramount Theatre in Oakland. Tickets will go on sale to SFJAZZ Members on Thursday, July 29 at 11:00am PST and on sale to the general public on Thursday, August 5 at 11:00amPST. For more information, visit sfjazz.org. SFJAZZ will celebrate the official Re-Opening of the SFJAZZ Center with its first full-capacity concert since March 2020 on Thursday, September 23 featuring Thelonious Monk Competition winner and soundtrack composer for Bridgerton and Green Book, pianist Kris Bowers. The SFJAZZ Center Re-Opening weekend includes concerts featuring Zakir Hussain, Eric Harland, and Abbos Kosimov on Friday September 24, and Pat Metheny’s Side-Eye project with James Francies and Joe Dyson on Saturday, September 25 and Sunday, September 26. “Over the past 18 months, all of us have been torn from the rhythms of everyday life and with the SFJAZZ 2021-2022 Season, and what is the our 39th year, we – artists, staff, and board -- are looking forward to a new rhythm and welcoming audiences back to the SFJAZZ Center,” says SFJAZZ Founder and Executive Artistic Director Randall Kline. -
Schooltime 07/08 Study Guide
SchoolTime 07/08 Photo by Henry Roxas Study Guide JazzReach—Subway Sounds Tuesday, February 5, 2008 at 11:00 a.m. Zellerbach Hall About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. In 2005/06 Cal Performances celebrated 100 years on the UC Berkeley Campus. Our SchoolTime program cultivates an early appreciation for and understanding of the performing arts amongst our youngest audiences, with hour-long, daytime performances by the same world-class artists who perform as part of the main season. Teachers have come to rely on SchoolTime as an integral and important part of the academic year. Cal Performances Education and Community Programs Sponsors Cal Performances’ Education and Community Programs are supported by American Express Company Foundation, California Arts Council, California Mortage & Realty, Design Community & Environment, Evelyn & Walter Haas, Jr. Fund, Orton Development Inc., Sharon & Barclay Simpson, Pacifi c National Bank, The Wallace Foundation, Bernard E. & Alba Witkin Charitable Trust, and The Zellerbach Family Foundation. SchoolTime JazzReach— Subway Sounds | I Welcome January 10, 2008 Dear Educators and Students, Welcome to Cal Performance’s SchoolTime! On Tuesday, February 5, at 11:00 a.m. your class will attend the SchoolTime performance of JazzReach’s Subway Songs at Zellerbach Hall on the UC Berkeley campus. -
Tula's Restaurant & Jazz Club
A Mirror and Focus for the Jazz Community September 2012 Vol. 28, No. 9 EARSHOT JAZZSeattle, Washington Tula’s Restaurant & Jazz Club Jason Moore, Elliott “Mack” Waldron and Sherrill Moore. Photo by Daniel Sheehan. NOTES Seattle’s Women in Jazz Festival bassist celebrates a new band and new current members, contact information The Women in Jazz Festival is sched- CD release. and more. uled for April 26-28, 2013, Seattle. Jazz Series, Bend, Ore. Arts Means Business Funding Festival organizers are currently seek- The Jazz at the Oxford series, at Applications for the Office of Arts & ing charitable donations, event spon- the Oxford Hotel in Bend, Oregon, Cultural Affairs Arts Mean Business sorships, volunteers and performers. launched in 2010 and recently an- funding program are due Monday, Please contact seattlewomeninjazz@ nounced next season’s schedule. The September 10. The program awards gmail.com for more information. monthly series includes Jeremy Pelt, one-time funding to Seattle arts, On the Horizon: Art of Jazz Karrin Allyson, and Portland’s Mel heritage, cultural and arts-service or- Seattle Art Museum, September- Brown Septet, on dates from October ganizations for arts jobs that make a December to March. More information at www. difference in an organization’s ability oxfordhotelbend.com. to generate extra revenue to carry out The Art of Jazz series continues, sec- Gallery 1412 Seeks New Members its mission. Seattle-based arts, culture ond Thursdays, 5:30pm, at the Seattle and heritage non-profits are eligible. Art Museum. Here’s the schedule for The non-commercial, artist-run, cre- More information is available at www.