Jazz” Back Into Jazz Band: 2020 WVMA Conference - Jeﬀ Wolfe, Marshall University Professional Jazz Ensemble Literature Accessible to Emerging Ensembles

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Jazz” Back Into Jazz Band: 2020 WVMA Conference - Jeﬀ Wolfe, Marshall University Professional Jazz Ensemble Literature Accessible to Emerging Ensembles

Putting “Jazz” Back Into Jazz Band: 2020 WVMA Conference - Jeﬀ Wolfe, Marshall University Professional Jazz Ensemble Literature Accessible to Emerging Ensembles Tune Comp/Arr Recording 2) The Atomic Basie Record Neal Hefti Basie (E=MC Count Basie The Kansas City Suite Benny Carter Kansas City Suite - Count Basie Enroll your band at academy.jazz.org The Essentially Ellington Series Various (5-8 free charts a year) 6 free charts a year for members Jazz Education Network (JEN) Various (for members) - jazzednet.org This Time By Basie! - Count I Left My Heart In San Francisco Cory & Cross/Arr. Quincy Jones Basie Thad Jones The Deﬁnitive Thad Jones: Live From the Walkin’ About (rescored by Mike Carubia) Village Vanguard, Vol. 1 - Mel Lewis J.O. Basie Plays Hefti Cute Neal Hefti Count Basie Count Basie One O’Clock Jump Various (1937 Version) (recreated by Jeff Hest) The Band of Distinction Down For The Count Frank Foster Count Basie Basie Land Count Me In Billy Byers Count Basie Full Nelson Miss Fine Oliver Nelson Oliver Nelson The Blues and the Abstract Truth Yearnin’ Oliver Nelson Oliver Nelson Afro/American Sketches Emancipation Blues Oliver Nelson Oliver Nelson The Uncollected Duke Ellington Rockabye River Duke Ellington and His Orchestra 1946, Vol. 2 …And His Mother Called Him Snibor Billy Strayhorn Bill Duke Ellington/Arr. Billy Such Sweet Thunder - Duke Such Sweet Thunder Strayhorn Ellington Duke Ellington and Billy Blue Pepper Far East Suite - Duke Ellington Strayhorn Big Band Arrangements of Tunes From Aebersold Vol. 54 (Vehicles for Improvisation) Tune Arranger Aebersold Vol. Watermelon Man Mike Kamuf 54-Maiden Voyage Song For My Father Mark Taylor 54-Maiden Voyage Impressions Mark Taylor 54-Maiden Voyage So What Mark Taylor 54-Maiden Voyage Maiden Voyage Mark Taylor 54-Maiden Voyage Cantaloupe Island Mike Kamuf 54-Maiden Voyage Satin Doll Mark Taylor 54-Maiden Voyage Blue Bossa Mark Taylor 54-Maiden Voyage Summertime Calvin Custer 54-Maiden Voyage Footprints John Berry 54-Maiden Voyage Autumn Leaves Peter Blair 54-Maiden Voyage Doxy Mark Taylor 54-Maiden Voyage Now’s the Time (F Blues) Allen Gray 54-Maiden Voyage Straight No Chaser (F Blues) Mark Taylor 54-Maiden Voyage Tenor Madness (Bb Blues) Mark Taylor 8-Sonny Rollins Lady Bird Mark Taylor 70-Killer Joe St. Thomas Mark Taylor 8-Sonny Rollins Sugar Mark Taylor 70-Killer Joe Girl from Ipanema Mark Taylor 70-Killer Joe.

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Thad Jones Discography Copy
Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr.
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ELLINGTON '2000 - by Roger Boyes
TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world.
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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.
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Ellington! 11 AM 2015 2016 BROADEN the HORIZONS of YOUR CLASSROOM
LEARNING LINKS JazzReach: WEDNESDAY OCTOBER 21 2015 Ellington! 11 AM 2015 2016 BROADEN THE HORIZONS OF YOUR CLASSROOM. EXPERIENCE THE VIBRANT WORLD OF THE ARTS AT THE McCALLUM! McCALLUM THEATRE INSTITUTE PRESENTS “My men and my race JazzReach: Ellington! are the inspiration of my work. I try to catch the character and mood and feeling of my people.” WEDNESDAY OCTOBER 21 2015 Duke Ellington 11 AM Connecting to Curriculum and Students’ Lives! HISTORY • New York, African-American history ARTS • Jazz, musical instruments Expanding the Concept of Literacy What is a “text”? We invite you to consider the performances on McCallum’s Field Trip Series as non- print texts available for study and investigation by your students. Anyone who has shown a ﬁlmed version of a play in their classroom, used a website as companion to a textbook, or asked students to do online research already knows that “texts” don’t begin and end with textbooks, novels, and reading packets. They extend to videos, websites, games, plays, concerts, dances, radio programs, and a number of other non-print texts that students and teachers engage with on a regular basis. We know that when we expand our deﬁnition of texts to the variety of media that we use in our everyday lives, we broaden the materials and concepts we have at our disposal in the classroom, increase student engagement, and enrich learning experiences. Please consider how utilizing your McCallum performance as a text might align to standards established for reading, writing, speaking, listening, and language. How do we help students to use these texts as a way of shaping ideas and understanding the world? Please use this material to help you on this journey.
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Flying Dutchman Label Discography
Flying Dutchman Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Flying Dutchman Label Discography Flying Dutchman was a jazz label created 1969 by the renowned producer/arranger Bob Thiele. It produced a fascinating mix of forward thinking music; the label combined the sounds of jazz, soul, experimentation, and black politics. Although the label put out some standard jazz albums, their most incredible records were those of unique musicians such as Leon Thomas, Lonnie Liston Smith, Gil Scott-Heron and Angela Davis. Initially the label was distributed by Atco Division of Atlantic, but later was switched to Bob Shad’s Mainstream label for two years. By 1974 the distribution was switched to RCA which distributed the label to 1984. The Flying Dutchman catalog was acquired by Legacy Recordings in 1993 from Bob Shad's daughter Tamara when she sold the assets of Mainstream Records, which had distributed Flying Dutchman until it closed in 1978. The Flying Dutchman label had several subsidiaries the specialized in different musical styles. The Amsterdam label concentrated on popular music including the recordings of Thiele’s wife Teresa Brewer. The Reggae label was established to release the reggae music from Jamaica. The Bluestime label was established to release blues recordings. Starting in 1974, Flying Dutchman albums were released in the RCA numbering system and were distributed by RCA. This numbering system was also used for albums on the Signature which was reactivated in 1974; Thiele also established the Bob Thiele Music label. For other albums on the Flying Dutchman, Signature, Bob Thiele Music label releases see the discography of the Bob Thiele labels.
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2 Duke Ellington
2 DUKE ELLINGTON Lesson Ideas Younger Students • Discuss Duke Ellington’s childhood and young adulthood with the students. Ask each student to imagine himself or herself as Duke Ellington. Each student creates a comic strip about life as child or teenage Duke Ellington. Comic strips can incorporate factual and imagined storylines. Showcase the finished comic strips in the classroom or compile into a newspaper. Distribute a newspaper photocopy to each student. • Provide students with white card stock and markers so they can construct a one-octave piano keyboard (with eight keys). Make your own to provide an example or allow students to model theirs using the classroom’s piano. Instruct students to write an adjective describing Duke on each piano key, based on what they have learned in class, and to draw a picture to accompany each qualifier. Examples of adjectives include musical, charismatic, noble, graceful, inventive and stylish. Play some of Duke Ellington’s music in the background as students create their piano keyboards. Older Students • Divide students into groups to record a podcast about Duke Ellington. Designate students for specific tasks: • Scriptwriters to write the podcast script • Podcast host to read the main narrative • Recording engineer to tape the podcast • Actors to read pretend commercials or act as interviewees • Sound effects artist You can choose to do a live newscast format instead of a podcast format depending on available resources and number of students. Recording is optional. • Duke Ellington became popular during the Harlem Renaissance of the 1920s and 1930s. Langston Hughes, a prominent poet during the Harlem Renaissance, often wrote his poems while listening to jazz music at the local clubs.
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An Evening with the Duke
An Evening with the Duke The University Musical Society presents Duke Ellington and His Orchestra in a Special Benefit Concert SATURDAY EVENING, NOVEMBER 11, 1972, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN Mood Illdigo Mood ltldigo Sophisticatfd Lady Sophisticated Lady Solitllde Solitude I Lei A SOllg Go I Let A Song Go Out of My Hearl Out of My Heart DOIl't Get Around Don't Get Aroulld Milch A Ilymore Much Altymore I Got It Bad I Got It Bad Do N otMltg Til l'au Do Nothing Til You Hear From Me Hear From Me I'm Beginllillg to I'm Begilm ing to See Ihe Ligltt See the Light I'm Just A Lucky The Ann Arbor and University community I'm Just A Lucky So-alld-So welcomes Duke Ellington and his colleagues. So-and-So Just Squeeze Me Just Squeeze Me Satill Doll Their cooperation in making this evening pos Satin Doll Blac k alld Tall sible for the benefit of the University Musical Black ana Tall Fantasy Fantasy Creole Love Call Society is deeply appreciated. Creole Love Call The Mooche The Mooche Rockill' ill Rhythm Rockill' in Rhythm Warm Valley Warm Valley C Jam Bllles C Jam Blues III a Mellotone 111 a Mellotone Happy-Go-Lucky Happy-Go-Lucky Local Special Benefit Committee Local Afro-Bossa Afro-Bossa Black, Browll and Black, Brown alld Beige Sarah G. Power, Chairman Beige The Liberiall Suite Mary S. Palmer, Hazen J. Schumacher, Jr., The Liberian Suite The Perfume Suite The Perfume Suite Deep SOltth Suite Lois U.
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Easy Way out JACK COOPER
1 2 TM Jazz Exploration Series Grade 1 / Easy Way Out JACK COOPER Instrumentation Full Score 1 Alto Saxophone 1 1 Alto Saxophone 2 1 Tenor Saxophone 1 1 Tenor Saxophone 2 (optional) 1 Baritone Saxophone (optional) 1 Trumpet 1 1 Trumpet 2 1 Trumpet 3 (optional) 1 Trumpet 4 (optional) 1 Trombone 1 1 Trombone 2 (optional) 1 Trombone 3 (optional) 1 Trombone 4 (optional) 1 Guitar (optional) 1 Piano 1 Bass 1 Drums 1 Flute (optional) 1 Clarinet (optional) 1 Horn in F (optional) 1 Tuba (optional) 1 About the Composer Jack Cooper (b. 1963) grew up in a rich musical environment of many styles of music. This is reflected in his chamber works all the way through his large ensemble and vocal writing. From 1989 thru 1995, Jack served in the sax section and as staff arranger touring and recording with the U.S. Army Jazz Knights. Since 1993, he has a long list of works with CPP Belwin, Warner Brothers, Alfred, UNC Jazz Press, and numerous other publishers; numerous recordings of his works can be heard with Summit, Centaur, SkyDeck and Origin Records. He is the musical director of the Jazz Orchestra of the Delta. Jack has served as the staff arranger with the Berlin Jazz Orchestra since 2015; his music can be heard internationally in live performances and through broadcast media. Jack earned his undergraduate and master’s degrees from California State University, Los Angeles and eventually a doctorate in composition from the University of Texas at Austin. He is currently Professor of Music (jazz studies) at the University of Memphis Scheidt School of Music (since 1998).
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Sarah Vaughan with Count Basie and His Orchestra Mp3, Flac, Wma
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Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
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The Frog” in This Issue We Present a Portrait of Ben Webster Written in a Personal Way by Steve Wallace
BULLETIN NR 2, APRIL 2016, ÅRGÅNG 24 ”The Frog” In this issue we present a portrait of Ben Webster written in a personal way by Steve Wallace. 2-2016 Vårnyheter! I vårt förra nummer av Bulleti bidragit med insiktsfulla artiklar av utprovningen är avklarad och alla nen hade vi glädjande nog två nya diskografisk natur. Vi hoppas och tror beslut har fattats läggs webbplats medlemmar att hälsa välkomna och att vi framdeles kan konsultera Björn en upp och ellington.se får ett nytt i detta nummer kan vi meddela att när diskografiska problem uppstår. utseende. Det kan komma att ske vi åter har fått två nya medlemmar. I förra numret rapporterade jag före nästa medlemsmöte. Ulf Lun Men tyvärr minskar medlemskad om de tankar som finns på att ge din har varit föreningen synner ern undan för undan och det är klubben närvaro på Facebook i syfte ligen behjälplig i utformandet av mycket tråkigt att konstatera. att ge klubben ett ansikte där och den nya webbplatsen och kommer Fjärde måndagen i februari hade stimulera kontakten och utbyten framdeles att ha en central roll i vi årsmöte. I år avgick Key Jiger mellan medlemmarna och mellan hanteringen av densamma. ström som ledamot av styrelsen. medlemmar och andra Ellington Som vi nämnde i förra bulletinen Han har varit medlem sedan DESS intresserade. Det arbetet har gått kommer vi i år åter att ge ut en ny startade sin verksamhet 1994. Som vidare och olika lösningar för en CD till Er. Den kommer att in ledamot av styrelsen invaldes han Facebookgrupp har studerats.
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Thad Jones Chronology Copy
Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also
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