Our Own Identity Crisis

Total Page:16

File Type:pdf, Size:1020Kb

Our Own Identity Crisis State University of New York at Fredonia The Issue No. 7, Volume XXV LeaderWednesday October 16, 2013 Brown bag series begins BombaYo brings with talk about The the spirit of bomba College Lodge to campus a-4 b-2 New law Our own identity crisis aims to CARL LAM Staff Writer control “Where do you go to school?” A majority of students can probably answer that question quite comfortably and give a house definitive answer. However, at SUNY Fredonia … I mean Fredonia State … I mean State parties University of New York College at Fredonia — this is the problem. S.L. FULLER What is our official title for this school? Special to The Leader It’s quite possible to stop 10 people and get three to four different answers. Here we are At the Student Association general folks, in the midst of an identity crisis; however, assembly meeting last Thursday, Dr. there’s a committee that’s working to change David Herman announced the new this dilemma. Social Host Law. This is a village We’ve seen SUNY Fredonia in many places ordinance that was voted into effect like the website, most letterhead and any mail by the Fredonia Board of Trustees that gets sent to you. midsummer 2013. The new ordinance It gets even trickier because we don’t iden- targets serving alcohol to minors at tify our athletic teams as the SUNY Fredonia house parties and has been used on Blue Devils because that’s a whole mouthful. residents twice already this school So instead, they go by the Fredonia State Blue year, neither case going to court. Devils, which creates another identity. “This Social Host Law is actually That’s not all: the campus bookstore sells an outcome of the Campus Community merchandise all year round with the letters FSU Coalition,” said Chief of Fredonia slapped onto anything they can. The problem Police, Brad Meyers. “This was some- with that is then you have to make clear to people thing that was brought forward near that you don’t go to Florida State University, the end of the [last school year] from but rather Fredonia State University. that committee, then was presented This idea of rebranding, as some call it, to the Village of Fredonia board and comes after the university’s mission statement reworked and voted into place.” saw a major makeover by trimming nearly a Fredonia is not the first college couple hundred words to make it more clear and town to create such an ordinance. direct. That was completed last fall and, now Brockport, Alfred and Monroe county its goal is to have the campus agree mutually also have similar ordinances in effect. on one name we can all be proud to represent. Before the Social Host Law, serv- The Branding Investigation Committee ing alcohol to minors was a class A has been formed and is being led by Director misdemeanor. Now, instead of having to of Public Relations Michael Barone. President take statements from everyone present Virginia Horvath has charged the committee at the scene and taking fingerprints with investigating the current brand to best and mugshots of the hosts, the police Melissa Rechin / Photo Editor determine if the university is showcasing its can issue appearance tickets to those Signs welcoming visitors to campus show the different ways Fredo- strengths and qualities. responsible and move along. It is no nia is represented. “We are in the process of researching the longer a class A misdemeanor. words, associations and attributes currently linked change during this process of rebranding as simply changing its name. “If you rent that apartment and with the university by its target audiences,” well. Our current logo, with the backslash ‘A’ “It’s part of a huge endeavor about making you throw a party and you’re providing Barone said. “We will then analyze the data was designed nearly three decades ago and sure the visual representation of our campus is alcohol [to those underage], whether and determine if the current brand and visual the tagline of, ‘where success is a tradition,’ is something that reflects who we are,” Horvath said. free, or charge of money, you’re com- identity accurately reflect those attributions.” quite antiquated as well. Horvath also mentioned that this rebranding mitting a crime,” said Meyers. “What Those visual identity components that In a recent interview on High Noon Friday we’re looking to do is be effective … Barone is talking about include the logo, tag- from Fredonia Radio Systems, Horvath men- Continued on page A-2 in stopping the house party in a timely line and more. Some of those items could tioned that this process is more than the campus manner while not necessarily leaving the individuals responsible with an indelible criminal record.” Another aspect of the Social Host Law is that an appearance ticket is SA to hold annual elections issued to every rent-paying tenant — even if all of the tenants are not there. ANNE RITZ The book opens Oct. 15 and is open in explained that her major, chemistry, requires “Whether you’re there or not, News Editor the SA office from 9 a.m. to 5 p.m. everyday her to do an abundance of labs and work. whether you agree with what’s hap- of the week. If a student is interested in run- Dorozynski explained that write-in can- pening or not, you chose those room- With Student Assembly executive elec- ning, they sign the book and then will be in didates are also acceptable, but it is generally mates, you chose that place to live,” tions quickly approaching, many students have the running. atypical of winning the elections for executive said Meyers. “What goes on inside begun to consider running. Elections are in "The way our’s are, you have to run as a positions. There is no maximum amount of your house is your responsibility; you November, and elected students start their slate, so someone that wants to run as president time an executive can hold a position. They are held accountable.” elected positions in January. or vice president — they pick each other, so can hold a position for two or more terms. According to Meyers, community "The way that we hold our executive elec- they run together," said Dorozynski. "A lot of times someone won't run again outcry was one factor that lead to this tions, we have a book that people interested in Dorozynski’s current vice president, junior new ordinance. running have to sign," said senior and current Cassidy Benson, is straying from the norm and President Erin Dorozynski. not running for president for next year. Benson Continued on page A-3 Continued on page A-2 A-2A-2 TheThe LeaderLeader,, WednesdayWednesday AprilOctober 11,2 201216, 2013 Adjunct Spotlight: Woodard trains speech pathologists with essential tool CARL LAM call to whoever it may be. It might be family, a Staff Writer doctor, a lawyer or to order a pizza,” she said. Woodard says her inspiration to choose It may not be the most easily recognized this field came at a very young age and from example, but it is the most convenient. In a then on, there’s no looking back. season of The Apprentice, contestant Marlee “The reason I went to sign language was Matlin had interpreter Jack Jason for the entire because my parents rented to a deaf couple competition to help her understand what was at one time. I remember as a young child and being said. Here at SUNY Fredonia, we have a my mother used to meet with this woman qualified interpreter like that, and she’s teach- regularly,” Woodard said. “My mother knew ing students the skills they’ll need to succeed no sign language — so they wrote notes back in a growing field. and forth. I remember being very young and Lori Woodard is an adjunct professor for sitting nearby hearing them laugh.” the Department of Communication Disorders She recalls having the conversation with and Sciences, grew up in Dunkirk and attended her mom about deafness for the first time. SUNY Fredonia as an undergraduate student. Naturally, the segue to college was a chance She majored in speech pathology and audiol- for Woodard to branch out into speech pathol- ogy, which is now known as communication ogy, but there were a few bumps along the way. disorders and sciences. Her graduate studies However, there was one niche Woodard found were completed at Canisius College in Buffalo, herself particularly interested in. where she earned her master’s in deaf education. “When you’re a CDS major here, you have “After that, I pursued my passion of to learn to be a jack of all trades and a master American Sign Language and became a cer- of all trades. I found out when I got here, I was Carl Lam / Staff Writer tified interpreter. I still take courses as a long good at all those things, but I wasn’t top notch, Department of Communication Disorders and Sciences, professor life learner,” Woodard said. except for the deafness part,” she said. “I was Lori Woodward. Many school districts in the Western always fascinated with the ear and the hearing differently about their clients is kind of cool. has had. Erin Watkins, a senior communication New York area have scaled back on language mechanism.” Not as someone who’s deficient, defective or disorders and sciences major, is glad she took offerings within the past decade but Woodard From the start, Woodard was certain that in need of repair but just someone who is just the ASL classes that are offered here, even if has had experience teaching at the high school she wanted to be in a profession where she could a minority group.” they were required for her major.
Recommended publications
  • Part 2 of Selected Discography
    Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics
    [Show full text]
  • Pee Wee Russell Jazz Reunion Mp3, Flac, Wma
    Pee Wee Russell Jazz Reunion mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Reunion Country: UK Released: 1989 MP3 version RAR size: 1245 mb FLAC version RAR size: 1370 mb WMA version RAR size: 1281 mb Rating: 4.7 Votes: 940 Other Formats: AHX AU VOX AUD AIFF DTS AAC Tracklist 1 If I Could Be With You One Hour 6:29 2 Tin Tin Deo 8:57 3 Mariooch 7:19 4 All Too Soon 7:32 5 28th And 8th 7:25 6 What Am I Here For 7:52 Companies, etc. Recorded At – Nola Recording Studios Credits Bass – Milt Hinton Clarinet – Pee Wee Russell Drums – Jo Jones Engineer – Bob D'Orleans Piano – Nat Pierce Recording Supervisor, Liner Notes – Nat Hentoff Tenor Saxophone – Coleman Hawkins (tracks: 1, 2, 4 to 6) Trombone – Bob Brookmeyer (tracks: 1, 2, 4 to 6) Trumpet – Emmett Berry (tracks: 1, 2, 4 to 6) Notes Recorded at Nola Penthouse Studios, New York City, Febuary 23, 1961. ℗ © Candid Productions Ltd. 16, Castelnau, London SW13 9 RU. Barcode and Other Identifiers Barcode: 7 08857 90202 6 Label Code: LC 0585 Matrix / Runout: 3431-CDD7020 C3.2 153442-02 Matrix / Runout (On cd label): CACD79020-2 Other versions Category Artist Title (Format) Label Category Country Year Pee Wee Russell Pee Wee Russell And 8020 And Coleman Coleman Hawkins - Jazz Candid 8020 US 1961 Hawkins Reunion (LP, Album, Mono) Pee Wee Russell / Coleman CACD Pee Wee Russell / CACD Hawkins - Jazz Reunion (CD, Candid Germany 1988 79020-2 Coleman Hawkins 79020-2 Album, RE) Pee Wee Russell Pee Wee Russell And CS 9020 And Coleman Coleman Hawkins - Jazz Candid CS 9020 US 1961 Hawkins
    [Show full text]
  • Holt Atherton Special Collections Ms4: Brubeck Collection
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov.
    [Show full text]
  • Download the Entire Issue (PDF)
    American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Sprimg 2013 “Live From The East”: Pharoah Sanders in Brooklyn By Jeffrey Taylor, Brooklyn College, CUNY Though for most jazz historians Brooklyn remains in the shadow of Manhattan, two previous articles in this journal have documented a robust tradition that can be traced back as far as performances by The Creole Band at Coney Island in 1915.1 Though often paralleling musical developments across the East River, Brooklyn jazz has also been shaped by the unique dynamic of the borough’s ethnic and racial makeup, as well as the very spe- cial qualities of its many, often insular, neighborhoods.2 The historically black neighborhood of Bedford-Stuyvesant in central Brooklyn, or “Bed-Stuy” as it is more commonly referred to, has long been a center of jazz, with its “Golden Age” of the 1940s and 1950s seeing performances by first-tier jazz musicians, includ- ing Miles Davis, Dizzy Gillespie, Thelonious Monk, and many oth- ers. Though the popular imagination may now see Bed-Stuy primar- ily as a backdrop for Spike Lee movies, it boasts a black presence that goes far back into the 19th century, with the establishment of communities of freedmen in places such as Weeksville—now part of neighboring Crown Heights. With the construction of the A train in the mid-1930s, which connected Bed-Stuy with Harlem, the neigh- borhood became a cultural mecca that rivaled Manhattan’s larger and more famous African American community.
    [Show full text]
  • It Might As Well Be Swing the New Musical Bandstand Brings the Sound of 1940’S Swing Music to the Broadway Stage This Month
    Volume 45 • Issue 4 April 2017 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Corey Cott and Laura Osnes star in Bandstand. Photo © Jeremy Daniel. It Might As Well Be Swing The new musical Bandstand brings the sound of 1940’s swing music to the Broadway stage this month. Jersey Jazz’s Sanford Josephson has a preview of the show (p. 26) which had its critically acclaimed first run at the Paper Mill Playhouse in Short Hills, NJ last fall. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez .......................... 2 Bulletin Board ...................... 2 NJJS Calendar ...................... 3 Jazz Trivia ......................... 4 Prez Sez Editor’s Pick/Deadlines/NJJS Info ....... 6 Change of Address/Support NJJS/ By Mike Katz President, NJJS Volunteer/Join NJJS ............. 41 Crow’s Nest ...................... 42 he Oscars were almost a very good night for jazz, in had a jazz program for quite a few years, although is not New/Renewed Members ............ 44 Tthat the winner of the Best Picture award was a full major as such. Musicians from the program have temporarily announced as La La Land, a throwback to often appeared at the September Princeton JazzFeast storIes the era of Hollywood musicals whose characters included which is co-sponsored by NJJS. They have scheduled Bandstand Opens on Broadway .... cover a jazz pianist (played by Ryan Gosling) struggling to several jazz programs this spring at Princeton which are Big Band in the Sky ................. 8 survive by stringing together various less than satisfying free and open to the public. We wish Professor Don Braden at Luna Stage ..........
    [Show full text]
  • Selected Discography
    Part 1 of Selected Discography Milt Hinton as Leader or Co-leader Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. It is estimated that between 1930 and 1995, Milt Hinton performed on more than nine hundred jazz record sessions. He made at least as many records, especially during the ’50s and ’60s, that featured hundreds of non-jazz performers, as well as countless jingles and film and television soundtracks. Specific and comprehensive information about Hinton’s recordings outside of jazz is nearly impossible to obtain. A partial list of non-jazz performers with whom he recorded includes: Paul Anka, Pearl Bailey, Harry Belafonte, Tony Bennett, Brook Benton, Archie Blyer, Teresa Brewer, Diahann Carroll, the Clancy Brothers, Nat King Cole, Perry Como, Sam Cooke, Bing Crosby, Vic Damone, Bobby Darin, Sammy Davis Jr., the Drifters, Percy Faith, Eddie Fisher, Connie Francis, Judy Garland, Jackie Gleason, Arthur Godfrey, Eydie Gormé, Skitch Henderson, John Lee Hooker, Lena Horne, Langston Hughes, Mahalia Jackson, Jack Jones, Frankie Laine, Steve Lawrence, Guy Lombardo, Johnny Mathis, Paul McCartney, Bette Midler, the Mills Brothers, Mantovani, Willie Nelson, Patti Page, Leontyne Price, Leon Redbone, Della Reese, Debbie Reynolds, Frank Sinatra, Kate Smith, Barbra Streisand, Sonny Terry and Brownie McGhee, Bobby Vinton, Dionne Warwick, Roger Williams, Jackie Wilson, and Hugo Winterhalter. The recording location is the New York City area unless otherwise noted. CDs have the same title as the LPs unless otherwise noted. [MH comp] indicates that Hinton was the composer or co-composer of a piece.
    [Show full text]
  • Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
    Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol.
    [Show full text]
  • Pop / Rock Misto
    CATALOGO LP prezzo POP / ROCK MISTO 2967 BRITISH EUROPEAN LP 3LP 100-TH WINDOW - MASSIVE ATTACK EUR 120,00 209 CASTLE BRITISH EUROPEAN 2LPLP ACKER BILK:THE COLLECTION EUR 23,30 35 BRITISH EUROPEAN LP AGNES BERNELLE - FATHER'S LYING DEAD ON THE IRONINGEUR BOARD 15,50 8283 ARISTA AIR SUPPLY - JUST AS I AM EUR 19,50 9564 ARISTA (Audiophile LP) ALLMAN BROTHERS BAND - BROTHERS ON THE ROAD EUR 19,50 505 FLYING FISH USA AZTEC TWO-STEP/SEE IT WAS LIKE THIS...AN ACOUSTIC RETROSPEC.EUR 14,50 163 CASTLE BRITISH EUROPEAN 2LPLP BARBARA DICKSON EUR 23,30 8620 ART BILL HALEY - GREATEST HITS EUR 15,50 15 BRITISH EUROPEAN LP - Heavy VinylBILL WELLS TRIO - ALSO IN WHITE EUR 22,50 4 AUDIOPHARM 3 LP BRAZILECTRO 3 - Artisti Vari - Jazz-Samba and Electronic Music: EURBossa & Latin 34,00 - composta da uno dei più popolari DJ nel mondo - Paco De La Cruz 5 AUDIOPHARM 3 LP BRAZILECTRO 4 - Artisti Vari - Jazz-Samba and Electronic Music: EURBossa & Latin 34,00 - - composta da uno dei più popolari DJ nel mondo - Paco De La Cruz 18 CASTLE BRITISH EUROPEAN LP CHICAGO: CHICAGO 8 \ STREET PLAYER EUR 23,30 8619 ART CLIFF RICHARD - GREATEST HITS EUR 15,50 71302 GOLD CASTLE COLLINS JUDY /TRUST YOUR HEART EUR 13,90 166 CASTLE BRITISH EUROPEAN 2LPLP ELKIE BROOKS EUR 23,30 74213 BRITISH EUROPEAN LP 2 LP FRANK ZAPPA - SAMPLER - YOU CAN'T DO THAT ON STAGE ANYMOREEUR 18,50 229 CASTLE BRITISH EUROPEAN 2LPLP GARY NUMAN - THE COLLECTION EUR 23,30 129 CASTLE BRITISH EUROPEAN 2LPLP JUDY GARLAND - THE COLLECTION - LIVE! EUR 23,30 130 CASTLE BRITISH EUROPEAN 2LPLP MANTOVANI AND HIS ORCHESTRA - THE COLLECTION EUR 23,30 4402 CARTHAGE REC.
    [Show full text]
  • Randy Weston and Pharoah Sanders' Work with Gnawa
    UNIVERSITY OF CALIFORNIA Los Angeles “A Look Outwards, A Look Inwards”: Randy Weston and Pharoah Sanders’ Work with Gnawa Musicians A thesis submitted in partial satisfaction of the requirements for the degree Masters of Art in African American Studies by Alfredo Rivera 2017 © Copyright by Alfredo Rivera 2017 ABSTRACT OF THE THESIS “Looking Outwards, Looking Inwards”: Randy Weston and Pharoah Sanders’ Work with Gnawa Musicians by Alfredo Rivera Master of Arts in African American Studies University of California, Los Angeles, 2017 Professor Robin Davis Gibran Kelley, Chair In 1968, Randy Weston became the first western musician to relocate to Morocco and work with the Gnawa M’Alem, master healers and musicians whose ancestral roots can be traced to ancient empire of Ghana. Pharoah Sanders has performed and recorded with Gnawa musicians since at least the early 1990s. This thesis looks at how these two artists independently engaged Gnawa music, tradition and spirituality, and the impact their collaborations had on their own work. Neither artist was driven by commercial interests or a nostalgic desire to return to their African roots. Instead, as I will demonstrate through musical description and analysis of significant recordings and video performances, their collaborations with the Gnawa musicians generated musical innovation while paying heed to tradition, providing a particularly rich case study of musical transculturation, rehistoricization, and the use of imagination across the Black Atlantic. ii The thesis of Alfredo Rivera is approved.
    [Show full text]
  • Black and Blue 33.092 1974 Grande Parade Du Jazz Black and Blue 950.504
    Jazz Interpret Titel Album/Single Label / Nummer Jahr «Nice All Stars» black and blue 33.092 1974 Grande Parade du Jazz black and blue 950.504 Abdul-Malik Ahmed The Music of New Jazz NJ 8266 1961, 2002 Adams Pepper 10 TO 4 AT THE 5 SPOT Riverside 12-265 1958, 1976 Adderley Julian "Cannonball" in the land of EmArcy MG 36 077 1956 Adderley Cannonball sophisticated swing EmArcy MG 36110 Adderley Cannonball Jump for Joy Mercury MG 36146 1958 Adderley Cannonball TAKES CHARGE LANDMARKLLP-1306 1959, 1987 Adderley Cannonball African Waltz Riverside OJC-258 (RLP-9377) 1961 Adderley Cannonball Quintet Plus Riverside OJC-306 (RLP-9388) 1961 Adderley Cannonbal Sextet In New York Riverside OJC-142 (RLP-9404) 1962 Adderley Cannonball Cannonball in Japan Capitol ECJ-50082 1966 Adderley Cannonball Masters of jazz EMI Electrola C 054-81 997 1967 Adderley Cannonball Soul of the Bible SABB-11120 1972 Adderley Cannonball Nippon Soul Riverside OJC-435 (RLP-9477) 1990 Adderley Cannonball The quintet in San Francisco feat. Nat Adderley Riverside OJC-035 (RLP-1157) Adderley Cannonball Know what I mean ? with Bill Evans Riverside RLP 9433, alto AA 021 Adderley Julian Portrait of Cannonball Riverside OJC-361 (RLP-269) 1958 Adderley Nat We remember Cannon In + Out Records 7588 1991 Adderley with Milt Jackson Things are getting better Riverside OJC-032 (RLP-1128) 1958 Adderly Julian "Cannonball" & strings 1955 Trip Jazz TLP-5508 Albam Manny Jazz lab vol.1 MCA Coral PCO 7177 1957, 1974 Alexander Monty Monty strikes again MPS 68.044 1974, 1976 Alexander Monty Overseas
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title “A Look Outwards, A Look Inwards”: Randy Weston and Pharoah Sanders’ Work with Gnawa Musicians Permalink https://escholarship.org/uc/item/2zh8n06f Author Rivera, Alfredo Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “A Look Outwards, A Look Inwards”: Randy Weston and Pharoah Sanders’ Work with Gnawa Musicians A thesis submitted in partial satisfaction of the requirements for the degree Masters of Art in African American Studies by Alfredo Rivera 2017 © Copyright by Alfredo Rivera 2017 ABSTRACT OF THE THESIS “Looking Outwards, Looking Inwards”: Randy Weston and Pharoah Sanders’ Work with Gnawa Musicians by Alfredo Rivera Master of Arts in African American Studies University of California, Los Angeles, 2017 Professor Robin Davis Gibran Kelley, Chair In 1968, Randy Weston became the first western musician to relocate to Morocco and work with the Gnawa M’Alem, master healers and musicians whose ancestral roots can be traced to ancient empire of Ghana. Pharoah Sanders has performed and recorded with Gnawa musicians since at least the early 1990s. This thesis looks at how these two artists independently engaged Gnawa music, tradition and spirituality, and the impact their collaborations had on their own work. Neither artist was driven by commercial interests or a nostalgic desire to return to their African roots. Instead, as I will demonstrate through musical description and analysis of significant recordings and video performances, their collaborations with the Gnawa musicians generated musical innovation while paying heed to tradition, providing a particularly rich case study of musical transculturation, rehistoricization, and the use of imagination across the Black Atlantic.
    [Show full text]
  • At the Jazz Band Ball
    ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P. Roth, and the Roth Family Foundation. At the Jazz Band Ball NEA Jazz Masters, 2004, left to right from back row: George Russell, Dave Brubeck; second row: David Baker, Percy Heath, Billy Taylor; third row: Nat Hentoff, Jim Hall, James Moody; fourth row: Jackie McLean, Chico Hamilton, Gerald Wilson, Jimmy Heath; fifth row: Ron Carter, Anita O’Day; sixth row: Randy Weston, Horace Silver; standing next to or in front of balustrade: Benny Golson, Hank Jones, Frank Foster (seated), Cecil Taylor, Roy Haynes, Clark Terry (seated), Louie Bellson, NEA Chairman Dana Gioia. Photograph by Tom Pich. At the Jazz Band Ball Sixty Years on the Jazz Scene Nat Hentoff Foreword by Lewis Porter UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
    [Show full text]