JAZZ WEEKEND 10 Grammy Awards, and Nominated 19 Times
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads. -
El Paso and the Twelve Travelers
Monumental Discourses: Sculpting Juan de Oñate from the Collected Memories of the American Southwest Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV – Sprach- und Literaturwissenschaften – der Universität Regensburg wieder vorgelegt von Juliane Schwarz-Bierschenk aus Freudenstadt Freiburg, Juni 2014 Erstgutachter: Prof. Dr. Udo Hebel Zweitgutachter: Prof. Dr. Volker Depkat CONTENTS PROLOGUE I PROSPECT 2 II CONCEPTS FOR READING THE SOUTHWEST: MEMORY, SPATIALITY, SIGNIFICATION 7 II.1 CULTURE: TIME (MEMORY) 8 II.1.1 MEMORY IN AMERICAN STUDIES 9 II.2 CULTURE: SPATIALITY (LANDSCAPE) 13 II.2.1 SPATIALITY IN AMERICAN STUDIES 14 II.3 CULTURE: SIGNIFICATION (LANDSCAPE AS TEXT) 16 II.4 CONCEPTUAL CONVERGENCE: THE SPATIAL TURN 18 III.1 UNITS OF INVESTIGATION: PLACE – SPACE – LANDSCAPE III.1.1 PLACE 21 III.1.2 SPACE 22 III.1.3 LANDSCAPE 23 III.2 EMPLACEMENT AND EMPLOTMENT 25 III.3 UNITS OF INVESTIGATION: SITE – MONUMENT – LANDSCAPE III.3.1 SITES OF MEMORY 27 III.3.2 MONUMENTS 30 III.3.3 LANDSCAPES OF MEMORY 32 IV SPATIALIZING AMERICAN MEMORIES: FRONTIERS, BORDERS, BORDERLANDS 34 IV.1 LANDSCAPES OF MEMORY I: THE LAND OF ENCHANTMENT 39 IV.1.1 THE TRI-ETHNIC MYTH 41 IV.2 LANDSCAPES OF MEMORY II: HOMELANDS 43 IV.2.1 HISPANO HOMELAND 44 IV.2.2 CHICANO AZTLÁN 46 IV.3 LANDSCAPES OF MEMORY III: BORDER-LANDS 48 V FROM THE SOUTHWEST TO THE BORDERLANDS: LANDSCAPES OF AMERICAN MEMORIES 52 MONOLOGUE: EL PASO AND THE TWELVE TRAVELERS 57 I COMING TO TERMS WITH EL PASO 60 I.1 PLANNING ‘THE CITY OF THE NEW OLD WEST’ 61 I.2 FOUNDATIONAL -
Aye Que Rico! I Love It! I Gotta Play It! but How Do I Do It? Building a Salsa/Latin Jazz Ensemble
¡Aye que Rico! I Love It! I Gotta Play It! But How Do I Do It? Building a Salsa/Latin Jazz Ensemble By Kenyon Williams f you’ve got salsa in your sangre, you re- tion streaming video lessons on the Web, infor- member your first time—the screaming mation that was once only available to a lucky brass riffs, the electrifying piano montunos, few can now be found with ease (see list at end Ithe unbelievable energy that flowed into of article for suggested educational resources). the audience, and the timbalero, who seemed “You can’t lead any band in any style of to ride on top of it all with a smile as bright music unless you know that style of music!” as the stage lights. “The Latin Tinge,” as Jelly admonishes Latin percussion great Michael Roll Morton called it, has been a part of jazz Spiro. “People end up, in essence, failing be- ever since its inception, but it took the genius cause they don’t learn the style! The clave, bass, of such artists as Mario Bauza and Dizzy piano, and even horns, have to play a certain Gillespie in the early 1940s to truly wed way within the structure—just like the percus- the rhythms of the Caribbean with the jazz sion. If you don’t understand that, you will fail!” harmonies and instrumentation of American For an experienced jazz artist wanting to popular music styles. They created a hybrid learn or teach a new style of music for the first musical genre that would, in turn, give birth to time, this fear of failure can be crippling. -
Maria Rivas Maria Rivas
Maria Rivas Known as one of the most versatile voices in Latin America and now North America, Maria Rivas skillfully combines American and Latin Jazz rhythms with lively yet sentimental music from around the world. She interprets her music in English, Spanish, Italian and Portuguese, and performs her own blend of traditional standards as well as music and lyrics she has composed herself. Maria’s unique sound is an intoxicating combination of classic American jazz and Latin music, with just the right splash of Brazilian accents, together with her signature mixture of indigenous, Caribbean, European, and African strains. From slow and sensuous, to very lively with a strong beat, her audiences love alternately to dance to her music, or sit and listen while being both moved and energized. A significant number of her audience members have described her performances as “magical” -- their word. Her exotic and varied repertoire includes American jazz and blues standards such as ‘Funny Valentine’, ‘Route 66’, ‘Lush Life’, and ‘Summertime;’ Latin classics like ‘Bésame Mucho’ and ‘Moliendo Café;’ smooth and sensuous Brazilian bossa nova tunes like ‘Girl from Ipanema’, ‘Corcovado’, ‘Dindi’ and ‘One Note Samba’; movingly romantic ballads, such as ‘My Romance’ and ‘Our Love is Here to Stay,’ and many, many others. During her musical career spanning over 30 years, Maria has “I consider Maria Rivas to be one of released ten CDs while headlining concerts in Latin America, North America, Europe, and Asia. including the world- the finest singers on the world stage famous Montreux Jazz Festival in Switzerland. She entertains today, truly a tremendous talent. -
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. -
Guide to the Bill Holman Collection
Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date: -
FOLLOWING the HERD REPERTOIRE TABLE 2017-V3
TITLE COMPOSER/ STYLE ALBUM/ERA INSTRUMENT ARRANGER FEATURE/SOLO ADAM’S BROADBENT MEDIUM BRAND NEW 1971 CLARINET/FLUGEL APPLE SWING TROMBONE AFTER PARISH/PIERCE SLOW BRAND NEW 1971 PIANO HOURS GROOVE AFTER CREAMER/LAYTON/ HOLMAN UP TEMPO WOODY HERMAN 1964 CLARINET/TRUMPET YOU’VE TENOR SAX GONE AJA BECKER/FAGAN / BROADBENT STRAIGHT CHICK,DONALD,WALTER TENOR SAX 8th WOODROW 1978 A KISS HEMAN/SLACK/VICTOR EASY NUMEROUS ALBUMS TRUMPET/CLARINET GOODNIGHT VOCAL SINCE 1945 ALONE AGAIN O’SULLIVAN/ BROADBENT STRAIGHT THE RAVEN SPEAKS TROMBONE/ALTO SAX (NATURALLY) 8th 1974 TENOR SAX AMERICA ZAPPA/BROADBENT FAST THUNDERING HERD FLUGEL/PIANO DRINKS AND GOES HOME SWING 1974 APPLE WOODY HERMAN UP TEMPO NUMEROUS ALBUMS VIBES/’BONE /TENOR SAX/ HONEY SINCE 1944 TRUMPET APRIL DeSYLVA/SILVERS/BURNS EASY JAZZ SWINGER ALBUM FLUGEL HORN SHOWERS VOCAL 1966 AQUARIUS RADA/RAGNI STRAIGHT HEAVY EXPOSURE 1969 SOPRANO SAX EVANS 8th A SONG FOR RUSSELL/STAPLETON STRAIGHT GIANT STEPS PIANO/SOPRANO SAX YOU 8th 1973 FLUGEL AURORA ROLAND BALLAD VARIOUS ALBUMS ALTO/TENOR AUTOBAHN BURNS/HERMAN MEDIUM VARIOUS ALBUMS TENOR/BARITONE BLUES SWING SINCE 1954 TRUMPET BAMBA BYRD/FELLER MEDIUM WOODY HERMAN Vol. 3 GUITAR LATIN/SWING SAMBA BASS FOLK CLARKE/KLATKA FAST 4 THUNDERING HERDS BASS/PIANO/PICCOLO (ROCK-FUNK) SONG 1974 BATTLE ELLINGTON/FEDCHOCK UP-TEMPO GOLD STAR SAXES ROYAL SWING 1987 BEBOP AND BROADBENT FAST GIANT STEPS 1973 TRUMPET/’BONE/TENOR ROSES SWING SAX BEDROOM GEE/PIERCE EASY LIVE AT HARRAH’S CLUB PIANO/TROMBONE EYES SWING 1964 TRUMPET BETTER GET MINGUS/ HAMMER FAST -
Fairfield University University
FAIRFIELDFAIRFIELD UNIVERSITY UNIVERSITY The Big Picture FAIRFIELDFAIRFIELD UNIVERSITY UNIVERSITY 1 FAST FACTs 2012–13 Founded: 1942, by the Jesuits Undergraduate Students: 3,300 Graduate Students: 1,300 University Schools: es, you could go to college and take some classes and College of Arts and Sciences Y Charles F. Dolan School of Business School of Engineering do some activities and go to some events and think a few School of Nursing Graduate School of Education thoughts and get a diploma and get a job with a paycheck and Allied Professions Undergraduate Profile: and have a standard-issue life. Receiving Academic Scholarship: 34% Receiving Financial Aid: 70% AHANA Students (African American, We want more. And if you want more, maybe you belong here. Hispanic, Asian, Native American): 16% *SAT Scores of Middle 50% of Admitted Students: 1690 – 1910 *ACT Composite Score of Middle 50% of We’re Fairfield University. We’re a Catholic, Jesuit university, Admitted Students: 25-28 *Admission to Fairfield is test-optional rooted in one of the world’s oldest intellectual and spiritual Tuition for 2012–2013: $41,090 traditions. We’re located in the heart of a region where Room and Board: $12,550 Fees: $600 the future takes shape, on a stunning campus on the Student to Faculty Ratio: 11:1 Connecticut coast, an hour from New York City. Faculty Holding Highest Degree in Their Field: 91% Undergraduate Majors: 41 We believe that living and learning aren’t two separate Interdisciplinary Minors: 16 activities. They’re parts of a coherent whole. Everything Graduate Programs: 38 you do here – course work and research, internships and Study Abroad Programs: Over 100 approved programs community service, campus leadership and study abroad – NCAA Division I Athletic Teams: 20 adds up. -
2018 ASCAP Jazz Awards Program Book
2018 2018 PAUL WILLIAMS PRESIDENT & CHAIRMAN ELIZABETH MATTHEWS CHIEF EXECUTIVE OFFICER ASCAP BOARD OF DIRECTORS WRITERS JOEL BECKERMAN | RICHARD BELLIS | BRUCE BROUGHTON | DESMOND CHILD | DAN FOLIART | MICHELLE LEWIS MARCUS MILLER | RUDY PÉREZ | ALEX SHAPIRO | JIMMY WEBB | PAUL WILLIAMS | DOUG WOOD PUBLISHERS MARTIN BANDIER | CAROLINE BIENSTOCK | BARRY COBURN | JODY GERSON | ZACH KATZ | DEAN KAY JAMES M. KENDRICK | LEEDS LEVY | MARY MEGAN PEER | JON PLATT | IRWIN Z. ROBINSON THE FOUNDERS AWARD Roscoe Mitchell is an internationally renowned musician, composer, and innovator. His role in the resurrection of long neglected woodwind instruments of extreme register, his innovation as a solo woodwind performer, and his reassertion of the composer into what has traditionally been an improvisational form have placed him at the forefront of contemporary music for over five decades. Mr. Mitchell is a founding member of the Art Ensemble of Chicago, the Association for the Advancement of Creative Musicians and the Trio Space. Additionally, Mr. Mitchell is the founder of the Creative Arts Collective, The Roscoe Mitchell Sextet, The Roscoe Mitchell Quartet, The Roscoe Mitchell Art Ensemble, The Sound Ensemble, The New Chamber Ensemble and the Note Factory. He has recorded over 100 albums and has written hundreds of compositions. His compositions range from classical to contemporary, from passionate and forceful improvisations to ornate orchestral music. His most recent recording, Discussions, was counted among “The 25 Best Classical Music Recordings of 2017” by the New York Times. Also, for five decades, he has designed the Percussion Cage, an elaborate percussion instrument consisting of instruments from around the world, as well as many found instruments. -
M-Pact to Bring Its Signature Vocal-Only Pop-Jazz Sound to Doudna.Pdf" (2011)
Eastern Illinois University The Keep 2011 Press Releases 1-21-2011 01/21/2011 - M-Pact To Bring Its Signature Vocal- Only Pop-Jazz Sound To Doudna.pdf University Marketing and Communications Follow this and additional works at: http://thekeep.eiu.edu/press_releases_2011 Recommended Citation University Marketing and Communications, "01/21/2011 - M-Pact To Bring Its Signature Vocal-Only Pop-Jazz Sound To Doudna.pdf" (2011). 2011. 7. http://thekeep.eiu.edu/press_releases_2011/7 This Article is brought to you for free and open access by the Press Releases at The Keep. It has been accepted for inclusion in 2011 by an authorized administrator of The Keep. For more information, please contact [email protected]. M-pact to Bring its Signature Vocal-Only Pop-Jazz Sound to Doudna Jan-21-2011 M-pact, which uses only human voices to create its trailblazing signature pop-jazz sound, will perform at Eastern Illinois University's Doudna Fine Arts Center on Tuesday, Feb. 1. The Los Angeles-based sextet has been hailed as "one of the best pop- jazz vocal groups in the world" by the San Francisco Chronicle, and their performance has been described as "a vocal wall of sound" by National Public Radio. The group describes its sound as a combination of "the smooth soul of Stevie Wonder; the percussive power of Stomp; the funk and drive of Earth, Wind, & Fire; the hip licks of Take 6; and the brass bite of the Harry Connick Jr. Big Band." Touring renowned fine arts halls and jazz festivals across four continents, m-pact has performed with many pop superstars, including Sheryl Crow, Boyz II Men, Kenny G, Liza Minnelli, Babyface, Rick Springfield and Jackson Browne. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
19.8 Mil War Chest
$4.50 (U.S.), (CAN.), C3.50 (U.K.) $5.50 IN THIS ISSUE 35 FM, 16.50 Dfl, DK 59.50, DM20, 12,000 Lire fr%r%»,c47ÿ:;,"t:tÑ`Yir*%Yk,j-1.il.irr, I a RIAA Sets April Date 000617973 4401 9108 MI ï Z TFNLY For Introduction Of Ara A Z 374C IF Performance -Right Bill LCING RCI: CA 90801 I°i PAGE 4 Feds Probe Top Philly Concert Promoter R PAGE 5 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT FEBRUARY 23, 1991 ADVERTISEMENTS $19.8 Mil War Chest Tough Times Forcing for ILK Video Drive Tour Promoters, Agents BY PETER DEAN Changing of the guard foreseen see page 88 To Weigh LONDON- Europe's first heavy- on VSDA board ... New Options weight generic video advertising BY THOM DUFFY ists to hold down their fees. campaign kicks off Wednesday (20) Wednesday's U.K. launch is ex- "I, for one, have always been opti- as U.K. video distributors seek to pected to start with a 60- second TV TAMPA, Fla. -In the face of the re- mistic," says veteran New York pro- reverse the current trend of declin- commercial, half of which is devoted cession, U.S. promoters, booking moter Ron Delsener. "I am pessimis- EMF UNBELIEVABLE ing rentals. to a generic message. The debut of agents, and venue operators are tic" about this summer. Although title-led joint advertis- the second commercial, which in- bracing for a tough touring season In contrast, leading European con- ing has been tested in the past, the cludes location shooting, has been this spring and summer.