Sara Shaw, Ava Gallo, & Madison

Total Page：16

File Type：pdf, Size：1020Kb

Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-10-2019 Joint Recital: Sara Shaw, Ava Gallo, & Madison Carroll, vocal jazz Sara Shaw Ava Gallo Madison Carroll Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Shaw, Sara; Gallo, Ava; and Carroll, Madison, "Joint Recital: Sara Shaw, Ava Gallo, & Madison Carroll, vocal jazz" (2019). All Concert & Recital Programs. 6466. https://digitalcommons.ithaca.edu/music_programs/6466 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Joint Recital: Sara Shaw, Ava Gallo, and Madison Carroll, vocal jazz Oliver Scott, piano Nick Peloso, bass Eric Myers, drums Nabenhauer Recital Room Sunday, November 10th, 2019 2:00 pm Program That Old Feeling Sammy Fain and Lew Brown arr. Mark Shilansky Madison Carroll, soprano Sara Shaw, mezzo-soprano Ava Gallo, alto Mas Que Nada Jorge Ben Ava Gallo You Don't Know What Love Is Gene De Paul and Don Raye Sara Shaw Social Call Gigi Gryce and John Hendricks arr. Madison Carroll Madison Carroll Dan Yapp, flugelhorn Words Can't Describe William Tennyson Ava Gallo I Didn't Know What Time It Was Richard Rodgers and Lorenz Hart Sara Shaw Alice DeRagon, tenor saxophone The Man That Got Away Harold Arlen and Ira Gershwin Madison Carroll 'Round Midnight Cootie Williams and Thelonious Monk arr. Darmon Meader Madison Carroll, soprano Sara Shaw, mezzo-soprano Ava Gallo, alto Nate Finke, tenor Louis Bavaro, bass Sara Shaw, Ava Gallo, and Madison Carroll are from the studio of Carol McAmis, Rachel Schutz, Ivy Walz, and Kim Nazarian..

Copy Link

Recommended publications

On Her New Album, Jazzmeia Horn Wants to Embolden Listeners to “Do Something About It”
On Her New Album, Jazzmeia Horn Wants to Embolden Listeners to “Do Something About It” The Dallas native’s jazz statement ’Love and Liberation’ is a call to action. BY TAYLOR CRUMPTON DATE AUG 28, 2019 SHARE NOTES 0 COMMENTS Emmanuel Afolabi azzmeia Horn’s preternatural musical talents emerged early on in her hometown of Dallas, ﬁrst in her grandfather’s Southern Baptist choir and later at Booker T. Washington High School for the Performing and Visual Arts. Horn, 28, has since J grown into one of contemporary jazz’s young icons, thanks to her inimitable vocal approach and command of generational techniques. After graduating from The New School’s renowned Jazz and Contemporary Music program, Horn delved into New York City’s jazz scene, performing at the likes of the Apollo. In 2015, she won the Thelonious Monk International Jazz Competition, the genre’s elite tournament aimed at ﬁnding the next generation of jazz experts. Two years later, she released her debut album, A Social Call, which earned her a Grammy nomination. Horn released her second album, Love and Liberation, on Friday. It’s a meld of original compositions rooted in community and lived experiences. The standout cover “Green Eyes” is an ode to her fellow Dallas sister Erykah Badu, and “No More” is Horn’s testimonial about embracing her beauty as a Black woman. “I remember every time I would walk out of my house in Texas when I was a little girl to catch the bus to school, and my mom or grandmother would have to walk me to the bus stop to make sure the white children didn’t pick on me,” she’s said of the song.
[Show full text]
View Was Provided by the National Endowment for the Arts
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 – November 22, 2017) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next.
[Show full text]
Final Nominations List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 60th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2016 through September 30, 2017 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, and/or Mixer(s) and mastering engineer(s), if other than the artist. Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist. 1. REDBONE Childish Gambino 1. "AWAKEN, MY LOVE!" Childish Gambino Donald Glover & Ludwig Goransson, producers; Donald Donald Glover & Ludwig Goransson, producers; Bryan Carrigan, Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, Chris Fogel, Donald Glover, Ludwig Goransson, Riley Mackin & engineers/mixers; Bernie Grundman, mastering engineer Ruben Rivera, engineers/mixers; Donald Glover & Ludwig 2. DESPACITO Goransson, songwriters; Bernie Grundman, mastering engineer Luis Fonsi & Daddy Yankee Featuring Justin Bieber 2. 4:44 Josh Gudwin, Mauricio Rengifo & Andrés Torres, JAY-Z producers; Josh Gudwin, Jaycen Joshua, Chris ‘TEK’ JAY-Z & No I.D., producers; Jimmy Douglass & Gimel "Young O’Ryan, Mauricio Rengifo, Juan G Rivera “Gaby Music,” Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, Luis “Salda” Saldarriaga & Andrés Torres, songwriters; Dave Kutch, mastering engineer engineers/mixers; Dave Kutch, mastering engineer 3.
[Show full text]
João Gilberto
SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
[Show full text]
Trumpeter/Vocalist, Prodigious Talent Benny Benack Iii Releases Triumphant Sophomore Album a Lot of Livin’ to Do 
TRUMPETER/VOCALIST, PRODIGIOUS TALENT BENNY BENACK III RELEASES TRIUMPHANT SOPHOMORE ALBUM A LOT OF LIVIN’ TO DO Produced by Drummer Ulysses Owens, Jr., Featuring bassist Christian McBride, Pianist Takeshi Ohbayashi, with guest vocalists Veronica Swift (“Social Call”), Alita Moses (“Where Is the Love?”) Liner notes by famed designer, performer Isaac Mizrahi, Benack’s frequent musical employer Out January 24th, 2020 on LA Reserve Following up his breakout 2017 debut One of a Kind, trumpeter/vocalist Benny Benack III brings his manifold talents even more bracingly into view with his sophomore outing A Lot of Livin’ to Do, featuring the great Christian McBride on bass. In his singing, songwriting, fiery trumpet playing and compelling showmanship, Benack brings a wealth of almost unheard-of virtuoso talent to the table. He reveals not only a stirring command of the post-bop trumpet vernacular in the vein of Kenny Dorham and Blue Mitchell, but also a sly, mature, naturally expressive vocal delivery in the post-Sinatra mold, with superb intonation and also the kind of chops to handle astounding feats of originally composed vocalese (complex solos with written lyrics). On A Lot of Livin’ to Do, these elements come together to reveal one of the most vibrant and multi-dimensional talents of our time. Benack is currently the frontman, trumpeter and singer for Postmodern Jukebox, the vintage music collective famed for canny old-school covers of modern pop. He hails from Pittsburgh, a city that produced the likes of Roy Eldridge, Earl Hines, Art Blakey, Billy Strayhorn and so many more, including Benny’s trumpeter/bandleader grandfather, Benny Benack, Sr.
[Show full text]
Jazz Combos Cali Music Livestream Tuesday, May 4Th, 2021 8:00 Pm Program
STUDIO RECITAL: Jazz Combos Cali Music Livestream Tuesday, May 4th, 2021 8:00 pm Program Alter Ego James Williams Social Call Gigi Gryce Gypsy Blue Tina Brooks STEVE JOHNS COMBO Adrienne Bazile, trumpet Daniel Harkins, trombone Daniel Cano, guitar Darryl Lloyd, vibes Bryan Singer, piano Melanie Samaan, electric bass Pierce Sparnroft, drums Wave Antonio Carlos Jobim Armando's Rhumba Chick Corea Soul Burst Cal Tjader Vera Cruz Milton Nascimento BILL MORING COMBO Vic Ortiz, flute Noah Ben-Nun, vibes Anita Freedson- Jackson, vocals Donna Unverricht, piano Carolina Perez, guitar Nate Perrucci, electric bass Nicky Unverricht, electric bass Matt Vera-Corcoran, drums Groovin High Dizzy Gillespie arranged by Dave Stryker All of Me Gerald Marks Groove Elation John Scofield GUITAR ENSEMBLE directed by Stephen Benson Dan Cano, Carolina Perez, Jackson Cuellar and Derrick Campos, guitars Brielle Burns, voice Jeanine Duke Pearson Along Came Betty Benny Golson Nica's Dream Horace Silver MIKE LEE COMBO Nico Martin, alto saxophone Martin Pyda, trombone Pierce Sparnroft, vibraphone Seniar Raines, bass Zack Perez - Drums Outra Vez Antonio Carlos Jobim arrangement by Derick Campos Moment’s Notice John Coltrane lyrics and arrangement by Allan Romero Black Orpheus Antonio Carlos Jobim and Luiz Bonfa Alone Together Arthur Schwartz DAVE STRYKER COMBO Shanyse Strickland, french horn, flute Vito Cakaroglu, trombone Allan Romero, tenor sax Terralynn Hayes, voice Derick Campos, guitar Felipe Orozco, electric bass Pierce Sparnroft, drums.
[Show full text]
JON HENDRICKS NEA Jazz Master (1993)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next.
[Show full text]
Horace Tapscott Jazz Collection, Date (Inclusive): 1960-2002 Collection Number: 237 Creator: Tapscott, Horace Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/kt187019m6 No online items Finding Aid for the Horace Tapscott Jazz Collection 1960-2002 Processed by Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2007 The Regents of the University of California. All rights reserved. Finding Aid for the Horace 237 1 Tapscott Jazz Collection 1960-2002 Descriptive Summary Title: Horace Tapscott Jazz Collection, Date (inclusive): 1960-2002 Collection number: 237 Creator: Tapscott, Horace Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: The collection consists of sound recordings, musical compositions and arrangements of Horace Tapscott and other composers, and the performances of the Pan Afrikan Peoples Arkestra and the Union of God's Musicians and Artists Ascension. The collection is in the midst of being processed, and updates will be made to this finding aid periodically. Preferred Citation [Identification of item], Horace Tapscott Jazz Collection, 237, Performing Arts Special Collections, University of California, Los Angeles. Acquisition Information Gift; Cecilia Tapscott; 2003. Biography Horace Elva Tapscott (b. Houston, 6 April 1934; d. Los Angeles, 27 Feb 1999) began piano studies at the age of six with his mother, the pianist Mary Lou Malone, and took up trombone two years later. His family moved to Los Angeles in 1943 and he studied trombone in school, playing with Frank Morgan in a high-school band; other young associates from this period included Don Cherry and Billy Higgins.
[Show full text]
Sounding Off: Folksong, Poetry, and Other Cognitive
SOUNDING OFF: FOLKSONG, POETRY, AND OTHER COGNITIVE DISSONANCE FROM THE AMERICAN WAR IN VIETNAM A Dissertation by MATTHEW KIRK IRWIN Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Terry H. Anderson Committee Members, David Vaught John Lenihan William Bedford Clark Head of Department, David Vaught December 2014 Major Subject: History Copyright 2014 Matthew Kirk Irwin ABSTRACT Among works treating Vietnam War history, few mention and none address extensively the folk culture that American and Vietnamese military forces produced. To bridge gaps between traditional and cultural primary sources, this study examines folk culture that the historiography has neglected: graffiti, folksongs, and poetry. Most were conceived and produced in-country, near in time to specific wartime experiences and their consequent emotions, thus lending them an emotional relevance and chronological proximity to Vietnam War history few other primary sources can boast. Graffiti, songs, and poems derived from specific historical contexts, registering social commentary and chronicling the cognitive dissonance that arose among combatants when their coveted, long-held, patriotic mythologies collided with wartime realities. These sources document the Vietnam War’s “inner-history”—the emotions, beliefs, concerns, and emotions of particular individuals, many of whom find voice virtually nowhere else in the historiographical canon. What folk culture lacks in terms of scope and scale vis-à-vis traditional sources, it abounds with in physical description, emotional narration, honesty, and transparency. Its value to historical inquiry lies in its tendency to pull no punches—ever.
[Show full text]
Erik Thormod Halvorsen Social Call
compositions. Academy of Music. of Academy Academy of Music. of Academy compositions. LOS 138-2, 2015 138-2, LOS orchestral sound which complements the the complements which sound orchestral as an associate professor at The Norwegian Norwegian The at professor associate an as of the band. band. the of LOS 138-2, 2015 138-2, LOS as an associate professor at The Norwegian Norwegian The at professor associate an as orchestral sound which complements the the complements which sound orchestral of the band. band. the of Erik Thormod Halvorsen Thormod Erik Erik Thormod Halvorsen Thormod Erik Uppercase Uppercase dimension to the album, giving it an exciting exciting an it giving album, the to dimension career as a studio musician including 30 years years 30 including musician studio a as career ability to create a great interaction with the rest rest the with interaction great a create to ability career as a studio musician including 30 years years 30 including musician studio a as career dimension to the album, giving it an exciting exciting an it giving album, the to dimension ability to create a great interaction with the rest rest the with interaction great a create to ability successful and added an extra musical musical extra an added and successful timing in his solos. He has a long professional professional long a has He solos. his in timing lines, instinctive understanding of time and his his and time of understanding instinctive lines, timing in his solos. He has a long professional professional long a has He solos. his in timing successful and added an extra musical musical extra an added and successful lines, instinctive understanding of time and his his and time of understanding instinctive lines, on this CD is a violation of applicable laws.
[Show full text]
WASHINGTON (CONTINUED on PAGE 42) B R O E G
INTERVIEW These kids are funny, because they say they want to be jazz musicians, but a lot of them are not serious. They’ll get these degrees and everything but they still can’t play. It’s amazing what they don’t know. And I’m not even just talking about jazz history. I’m just talking about playing their instrument. And a lot of that has to KENNY do with what they had in elementary school, junior high and high school and it’s not necessarily the teacher’s fault, it’s budget cuts. When I was coming up in New York City in the ‘60s, we had all these programs, because mayors like John Lindsay and people like that, their whole thing was: keep kids off the streets. So, when school ended at 3 o’clock, you had an option to G R E B WASHINGTON (CONTINUED ON PAGE 42) O R B N A H O J by anders griffen Kenny Washington is a representative of the legacy of TNYCJR: You continue to be a student, right? bebop and hardbop. Appearing on over 250 albums, he is one of the greatest straightahead drummers of the last 40 years. KW: Absolutely. I am a student of this music, there’s Washington has accompanied many of the masters, no doubt, and there’s always something more to learn. including Lee Konitz, Johnny Griffin, Dizzy Gillespie, And the older you get and the more you mature, the Clark Terry, Benny Carter and too many other greats to more you start to understand and hear things you name.
[Show full text]
Seldon Powell
1 The TENORSAX of SELDON POWELL Solographer: Jan Evensmo Last update: Feb. 16, 2021 2 Born: Lawrenceville, Virginia, Nov. 15, 1928 Died: New York, Jan. 25, 1997 Introduction: I remember very well our first encounter with Seldon Powell; through the exciting 1956 Atlantic album “Boss Of The Blues” with Joe Turner. We enjoyed his music very much from the start, and realizing the enormous number of recording sessions he had taken part in, we called him a ‘tenorsax potato’, suitable for all jazz dishes. It was meant as an honour. In our opinion, SP did never get the recognition he deserved History: First musical studies at Brooklyn and New York Conservatories 1947-49 and graduated at Juillard 1957. First job with the band of Betty Mays 1949, Tab Smith at Savoy Ballroom 1949 and Dec. 1949 with Lucky Millinder until 1951. Did army service 1951-52 playing in bands in France and Germany where he was stationed. After discharge returned to New York and played with Sy Oliver, Erskine Hawkins, Neal Hefti, Louis Bellson and Don Redman 1952-55. Studied at Juillard. In 1958 he travelled to Europe with Benny Goodman’s band, and then he played briefly with Woody Herman. In the 1960s he worked chiefly for ABC TV but also recorded heavily. His numerous recordings as a studio musician include many made in the late 1960s and early 1970s with soul and soul-jazz musicians, including Groove Holmes (ca. 1973) and sessions in the big bands that accompanied Gato Barbieri (1974) and Anthony Braxton and Dizzy Gillespie (both 1976).
[Show full text]