DOCSLIB.ORG

Opportunities Possibilities Memories

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Opportunities Possibilities Memories Photo credit Jim Harris Salt Lake City, Utah Program Book American String Teachers ASSOCIATION sponsored by: 1 2 schedule-at-a-glance Wednesday, March 18 Friday, March 20 p.6 9:30 a.m. - 7:00 p.m. Registration Open p.46 7:00 a.m. - 8:00 a.m. Sunrise Sessions Merz-Huber Co. D’Addario & Co. p.6 7:30 a.m. - 3:30 p.m. Registration Open p.30 10:00 a.m. - 5:00 p.m. Suzuki Every Child Can! Workshop D’Addario & Co. p.30 12:00 p.m. - 5:00 p.m. Mini Learning Academies p.46 8:15 a.m. - 5:15 p.m. Educational Sessions • Adjudication 101 • Promoting Health and Preventing Injury p.28 9:00 a.m. - 5:00 p.m. National Orchestra Festival events for String Players and Teachers Thomastik-Infeld • Double Bass Boot Camp • Developing Supermusicians: A p.42 10:00 a.m. - 6:30 p.m. Exhibit Hall Open/Silent Auction Comprehensive Sequence of Instruction to Develop Superior Aural p.52 11:30 a.m. - 12:30 p.m. Coffee Break with Exhibitors Acuity and Perception Claire Givens Violins • State Leadership Workshop, Invitation Only p.58 5:30 p.m. - 6:30 p.m. Attendee Reception in Exhibit Hall p.31 5:30 p.m. - 6:00 p.m. First-Time Attendee Welcome p.58 5:45 p.m. Silent Auction Bidding Closes/ Winners Announced p.31 6:00 p.m. - 7:30 p.m. Town Hall/Dessert Social p.10 7:30 p.m. - 9:30 p.m. College Fair p.31 8:00 p.m. - 9:30 p.m. BYU Orchestra with Lynn Harrell Brigham Young University & p.58 8:00 p.m. - 10:00 p.m. Live! National Solo Competition Zions Bank finals Pirastro GmbH p.31 9:30 p.m. - 10:30 p.m. Student Chapter Networking & p.59 10:00 p.m. - 11:00 p.m. Jam Session Carl Fischer Awards p.58 9:30 p.m. - 11:00 p.m. D’Addario Bash 2015 Thursday, March 19 Saturday, March 21 p.6 7:30 a.m. - 3:30 p.m. Registration Open p.62 7:00 a.m. - 8:00 a.m. Sunrise Sessions D’Addario & Co. Merz-Huber Co. p.32 8:00 a.m. - 9:30 a.m. Opening Ceremony Alfred Music p.6 8:00 a.m. - 11:00 a.m. Registration Open p.28 9:00 a.m. - 5:00 p.m. National Orchestra Festival events D’Addario & Co. Thomastik-Infeld p.62 8:00 a.m. - 5:00 p.m. Educational Sessions p.32 9:45 a.m. - 5:00 p.m. Educational Sessions p.42 10:00 a.m. - 2:30 p.m. Exhibit Hall Open p.42 5:00 p.m. - 7:00 p.m. Exhibit Hall Grand Opening & p.67 10:30 a.m. - 11:30 a.m. Coffee Break with Exhibitors Reception Merz-Huber Co. p.67 11:15 a.m. - 12:30 p.m. National Orchestra Festival Winner’s p.6 5:00 p.m. - 7:00 p.m. Silent Auction Bidding Opens Recital Thomastik-Infeld p.14 8:00 p.m. - 10:00 p.m. Ying Quartet Recital p.70 1:45 p.m. - 2:45 p.m. Dessert Reception in Exhibit Hall Thank you to our sponsors in bold type! p.14 8:00 p.m. - 10:00 p.m. Christian Howes with Southern Exposure Yamaha 1 PRESIDENT’S WELCOME 2015 ASTA National Conference elcome to Salt Lake City and the 2015 tra Festival will feature outstanding groups from conference! The breathtaking views of the around the country. WWasatch mountains and the Salt Lake Valley provide a perfect setting for the incredible I also want to thank the entire ASTA staff for their artistry that are part of every conference. This year’s dedicated work and efforts in preparing for this conference looks to be no different. We have an week. Thousands of hours of work and planning go incredible schedule of performances, master class- into making this conference the exceptional event es, and educational settings. It’s also an amazing it is. Please be sure to let the staff members know time for professional networking and communi- how much you appreciate their work and commit- ty-building opportunities, from seeing colleagues ment to helping us all achieve ASTA’s mission. Mary that we’ve not seen since the last year’s conference Wagner, as conference chair, works closely with a to making new friendships with people who under- team of experts to put together a conference pro- stand exactly what it means to be a string teacher gram that is diverse, high-quality, and relevant to and player. There is simply no other event like it your needs as teachers in the classroom and studio. anywhere in the world exclusively for string teach- ers and players! Additionally, thank you to the many volunteers from our organization who have generously committed Each year, our program seems to expand. Though time and talents to this event, including the local the official opening of the conference is Thursday organizing committee from Utah, plus the ASTA morning, I hope that you’ll take ad- Executive Board members, state chapter leaders, There is simply no vantage of the Wednesday evening committee and task force chairs, and student chap- town hall and social, followed by an ter volunteers who have answered the call to service other event like it inspiring performance by the Brigham on behalf of our mission to bring the joy of string anywhere in the world Young University Symphony Orches- playing to students of all ages across our great coun- tra, with special guest Lynn Harrell. try. If you are looking for ways to become an active exclusively for string You won’t want to miss a piece of participant in one of ASTA’s programs or in your teachers and players! music created by Julie Lyonn Lieber- state chapter, please visit our website or be sure to man that celebrates ASTA through the stop by the ASTA registration desk to let us know years! Other featured guests include the world-re- of your interest. nowned Ying Quartet and extraordinary eclec- tic-styles violinist Christian Howes and a unique Best wishes for a great conference! ensemble combining to create Southern Exposure, which will close out our event on Saturday evening. We are thrilled to be offering for the first time—the live finals for the ASTA National Solo Competition. The level of musicianship that emerges from the Steve Benham studios of our membership is nothing short of breathtaking. You’ll have a chance to watch the final six competitors perform before a live audience in the final round. And, as always, the National Orches- 2 2015 ASTA National Conference table of contents Schedule-at-a-Glance ............................................1 President’s Welcome .............................................2 Sponsors ................................................................5 General Information .............................................6 Recorded Sessions ................................................7 Award Winners ......................................................8 Invited Performing Groups ................................13 Evening Performances ........................................14 Master Classes .....................................................15 Music Industry Showcases .................................16 Poster Sessions ..............................................18, 66 Board, Staff, and Committees ............................20 National Orchestra Festival® ..............................28 Wednesday Education & Activities .....................30 Educational Sessions Thursday ..........................................................32 Friday ...............................................................46 Saturday ...........................................................62 Exhibit Hall Floor Plan ........................................87 Exhibitor Listings ................................................76 Salt Palace Floor Plan ..........................................87 3 4 conference sponsors ASTA sincerely thanks the following companies and individuals for their generous ongoing support of the 2015 National Conference: National Orchestra Festival® ............................................... Thomastik-Infeld Opening Ceremony .............................................................................Alfred Music Keynote Speaker ........................................................... Hal Leonard Corporation Exhibit Hall Grand Opening Reception ....................... Merz-Huber Company Official Conference Program ........................................................... SHAR Music Conference Tote Bags ......................................Connolly & Co./Thomastik-Infeld Registration Area ..................................................................D’Addario & Co., Inc. Sunrise Educational Sessions ......................................... Merz-Huber Company Coffee Break in Exhibit Hall (Friday) ..............................Claire Givens Violins Conference Directional Signs .......................................................... SHAR Music Early-Bird Registration Drawing ...........................CodaBow International Ltd. Friday Evening Jam Session ...................................................Carl Fischer Music Christian Howes/Southern Exposure ............Yamaha Corporation of America Wednesday Evening Welcome Reception ............Marriott Hotel at City Creek National Solo Competition: Finals Recital .........................................................................Pirastro GmbH Grand Prize ................................................................................SHAR Music Audience Favorite .....................................Yamaha Corporation of America Laureate Prizes: ....................................................................... Jeffrey Solow Warren Loranger Ralph Matesky Fund Nathan Gordon Fund Master Class Sponsors: Bass .......................................................................................Pirastro GmbH Cello ......................................................................................Pirastro GmbH Violin ..........................................................................................SHAR
Recommended publications
  • Part 2 of Selected Discography

    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
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck

    The Baroque Cello and Its Performance Marc Vanscheeuwijck

    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
  • The Science of String Instruments

    The Science of String Instruments

    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
  • Lavoce: Our Voice All and Winter Made Their Marks on More Than Fa Few Instruments This Year

    Lavoce: Our Voice All and Winter Made Their Marks on More Than Fa Few Instruments This Year

    OF CLAIRE GIVENS VIOLINS, INC. SPRING 1999 LaVoce: our voice all and winter made their marks on more than Fa few instruments this year. Fluctuating climat- ic conditions in the fall followed by the sudden onslaught of winter and a stint of exceedingly dry air brought many customers to our shop to have a wide variety of concerns addressed, from troublesome e- strings to serious cracks. Caring for string instruments requires attention and dedication on the part of play- ers.Taking preventative measures and paying atten- tion to any changes in your instrument’s sound are crucial (poor sound quality can indicate open bouts and cracks).The two key climatic threats to string instruments are temperature and humidity. Keep humidity levels at 50% (35% at the least) in the room in which your instrument is regularly stored and played. If you use ‘Dampits,’check and dampen them regularly. Do not leave instruments near heating vents, radiators or in direct sunlight.Allow instru- ments to adjust gradually to temperature changes when transported from one location to another. Xue-Chang Sun, Andrew Dipper, Claire Givens and Mr. Ni in Quilted case covers such as those made by Cushy and front of Beijing workshop on a sunny day in October 1998 Cavallaro, which we sell, add a valuable layer of insu- lation and serve well not only during cold months, Claire and Andrew visited three workshops, each but during hot summer months as well.Take care! dealing with a different level of instrument, and each overseen by one of three master makers who have won international
  • Black Violin

    Black Violin

    This section is part of a full NEW VICTORY® SCHOOL TOOLTM Resource Guide. For the complete guide, including information about the NEW VICTORY Education Department check out: newvictorYschooltools.org ® inside | black violin BEFORE EN ROUTE AFTER BEYOND INSIDE INSIDE THE SHOW/COMPANY • closer look • where in the world INSIDE THE ART FORM • WHAT DO YOUR STUDENTS KNOW NOW? CREATIVITY PAGE: Charting the Charts WHAT IS “INSIDE” BLACK VIOLIN? INSIDE provides teachers and students a behind-the-curtain look at the artists, the company and the art form of this production. Utilize this resource to learn more about the artists on the NEW VICTORY stage, how far they’ve traveled and their inspiration for creating this show. In addition to information that will enrich your students’ experience at the theater, you will find a Creativity Page as a handout to build student anticipation around their trip to The New Victory. Photos: Colin Brennen MAKING CONNECTIONS TO LEARNING STANDARDS NEW VICTORY SCHOOL TOOL Resource Guides align with the Common Core State Standards, New York State Learning Standards and New York City Blueprint for Teaching and Learning in the Arts. We believe that these standards support both the high quality instruction and deep engagement that The New Victory Theater strives to achieve in its arts education practice. COMMON CORE NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS Speaking and Listening Standards: 1 Arts Standards: Standard 4 Music Standards: Developing Music English Language Arts Standards: Literacy; Making Connections
  • Articulation from Wikipedia, the Free Encyclopedia

    Articulation from Wikipedia, the Free Encyclopedia

    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
  • David Moritz Michael (1751–1827) 80580-2 Parthien 10-14 Pacific Classical Winds

    David Moritz Michael (1751–1827) 80580-2 Parthien 10-14 Pacific Classical Winds

    DAVID MORITZ MICHAEL (1751–1827) 80580-2 PARTHIEN 10-14 PACIFIC CLASSICAL WINDS David Moritz Michael’s woodwind Parthien are found only in the music collections of the early American Moravian settlements—Bethlehem, Lititz, and Nazareth, Pennsylvania, and Salem, North Carolina. While Michael (1751–1827) lived only twenty of his seventy-six years in America (from his 44th to 64th year of age), he was not known as a composer in Europe, and none of his music found its way to the archives of the European Moravian churches. Parthien 10-14 are found only in the collections of the Philharmonic Society of Bethlehem, Pennsylvania, and the Lititz, Pennsylvania, Collegium Musicum—thus this is not only “American” music, but specifically Pennsylvania music. David Moritz Michael wrote fourteen Parthien for combinations of clarinets, horns, and bassoons (with the occasional flute or trumpet). Exact dates for these compositions have not been established. These works, well within the tradition of the divertimento or serenade of the eighteenth century, were performed in concerts in Bethlehem and Nazareth, Pennsylvania, and in informal serenades. Each consists of three to five movements with formal structures like those of the early classical symphonies, with movements generally longer than those of the two Water Journey suites. In addition to these Parthien, he wrote two Water Journey suites, designed to be used during the Whitmonday holiday celebrations in Bethlehem, Pennsylvania. While more serious in character than either of the Water Journey suites, the Parthien retain the light-hearted exuberance, even playful whimsy, of the eighteenth-century divertimento—including, nevertheless, some passages very reminiscent of Haydn’s Sturm und Drang writing.
  • Founding a Family of Fiddles

    Founding a Family of Fiddles

    The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard.
  • And Nineteenth-Century Viola Da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, Sbecker@Trinity.Edu

    And Nineteenth-Century Viola Da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected]

    Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-19-2013 Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Recommended Citation Becker, Sarah, "Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices" (2013). Music Honors Theses. 6. http://digitalcommons.trinity.edu/music_honors/6 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF_________MUSIC______________AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/19/2013 ______ ____________________________ ________________________________ THESIS ADVISOR DEPARTMENT CHAIR __________________________________________________ ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S.
  • Colin Linden – Blow Biography

    Colin Linden – Blow Biography

    Colin Linden – bLOW Biography “Got a coin in my pocket heavy and gold/It don’t own me I need to let it go/Cause having is wanting/Desire can make you weep” – “bLOW” Colin Linden’s tale is the stuff of legend, the kind told in the Coen brothers’ O Brother Where Art Thou or Inside Llewyn Davis, both of which featured his guitar playing on the soundtracks. That film would begin with an 11-year-old meeting his musical idol Howlin’ Wolf at a matinee show in his native Toronto, accompanied by his mom, who took a picture of the two during a nearly two-hour long conversation before the gig, the legendary bluesman idling over coffee and cigarettes. “I’m an old man now, and I won’t be around much longer,” Wolf told him. “It’s up to you to carry it on.” Linden still carries that frayed photograph in his wallet, along with a Sears 5/8” socket wrench in his pocket to play slide guitar. He has taken Wolf’s plea seriously, performing since he was 12 years old, leaving home as a teenager to travel the south at the invitation of Mississippi Sheiks delta blues guitarist Sam Chatmon which took him to Detroit, Chicago, Indianapolis, St. Louis, Memphis and Hollandale, Mississippi, meeting and visiting the sites of his heroes – Brownie McGhee, Muddy Waters, Sippie Wallace, Tampa Red, Blind John Davis, the Rev. Robert Wilkins, Sleepy John Estes and Son House, visiting the landmarks and juke joints, many of which he’s played in during the course of a 45-year career producing and playing blues and roots music.
  • COLIN LINDEN from Canada to Nashville

    COLIN LINDEN from Canada to Nashville

    The Phenomenal RUTHIE FOSTER HADDEN SAYERS Breaking Free ANSON FUNDERBURGH Is Back COLIN LINDEN From Canada To Nashville NUMBER ONE www.bluesmusicmagazine.com US $5.99 Canada $7.99 UK £4.60 Australia A$15.95 COVER PHOTOGRAPHY © SCOTT ALLEN / VIVIDPIX 4 BLUE NOTES NUMBER ONE From The Publisher 5 RIFFS & GROOVES 6 RUTHIE FOSTER From The Editor-In-Chief Timeless Voice by Tim Parsons 20 DELTA JOURNEYS “Rock Stars” 11 HADDEN SAYERS 22 AROUND THE WORLD Back To The Blues “Good Night, Ann Rabson” by Phil Reser 24 Q&A 14 The Many Facets Of with Michael Hill ANSON FUNDERBURGH by Grant Britt 27 BLUES ALIVE! Damon Fowler 17 COLIN LINDEN Ronnie Earl Guitar Master 30 REVIEWS by Larry Nager New Releases and Box Sets 70 LEGACIES 72 DOWN THE ROAD A S P A L S R A G I A © Y H P A R G O T O H P PHONE TOLL-FREE 866-702-7778 EMAIL [email protected] WEB bluesmusicmagazine.com GuitarDMasterEEP ROOTS COLIN LINDEN’S Journey from Howlin’ Wolf to Hollywood by Larry Nager WHO YOU THINK sideman deluxe flying under the radar for pre-war blues to his eerie recreation Colin Linden is depends on which side in his trademark black hat and shades. of Skip James’ “Hard Time Killing Floor.” of the border you call home. In his native Specializing in the bluesier side of He toured arenas with the O Brother Canada, he’s long been known as one Americana, he can be heard on spinoff tour Down From The Mountain of the world’s premier blues and roots wide-ranging, high profile projects and put in a year backing Country Music guitarists and producers, lending his including the O Brother Where Art Thou? Hall of Famer Emmylou Harris.
  • SKINNER Fine Musical Instruments

    SKINNER Fine Musical Instruments

    SKINNER Fine Musical Instruments May 1, 2011 Sale 2544B Boston Fine Musical Instruments specialist in charge David Bonsey 508.970.3224 General Inquiries: [email protected] auction 2544B Sunday, May 1, 2011 at 12 noon 63 Park Plaza Boston, Massachusetts preview Friday, April 29, 2011 12 to 7 p.m. Saturday, April 30, 2011 10:30 a.m. to 5 p.m. Sunday, May 1, 2011 9 to 10:30 a.m. absentee bidding Tel: 617.874.4318 Fax: 617.350.5429 Online: www.skinnerinc.com general inquiries 617.350.5400 View all lots online at www.skinnerinc.com cover : 55, inside back cover : 186, back cover : 1 Register… Preview… and Bid Live Online Preview Auctions Online Bid Live Online with SkinnerLive! Flip through the pages o our interactive virtual catalogues, Get the live auction experience rom your home or oice or view all lots in an upcoming auction to browse with SkinnerLive! Register in advance or an auction to bid through images and detailed lot inormation. You can also online in real time. download and print a PDF ile o a catalogue. Find Items with Lot Alert Read the Skinner Blog Find out immediately when items you like are available at Keep up on market trends with tips rom our expert auction. Lot Alert searches upcoming Skinner auctions or appraisers. Discover the stories behind the art and items matching your interests, and automatically emails antiques Skinner oers at auction, and add your own you when an item is posted in the online catalogue. comments to join the conversation. Track Lots and Leave Absentee Bids Get Email Updates on Auctions and Events While previewing any auction online, you can ask Subscribe to the Skinner email list to receive monthly specialists questions with a lot inquiry, keep a list o items auction schedules, invitations to events, and notiication that interest you with Track Lots, or place secure and when auction previews and catalogues are posted to the conidential online absentee bids.