DOCSLIB.ORG

HEADS up at 15 Berklee

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

JazzWeek with airplay data powered by jazzweek.com • March 9, 2005 Volume 1, Number 16 • $7.95 In This Issue: Michel Camilo Scholarship at HEADS UP AT 15 Berklee . 4 Brubeck Festival Lineup. 5 A look at the label’s Playboy Lineup origins and future Announced . 5 with president and Savoy Parker Collection . 6 founder Dave Love page 10 Baker and Gillespie Career Box Sets . 8 Reviews and Picks. 20 ARTIST Q&A: Jazz Radio . 22 RUSSELL Smooth Jazz Take The ‘Z’ Train: FERRANTE Radio. 27 OF THE Radio SMILE: THE JAZZWEEK Panels. 31 YELLOWJACKETS DAVID SANBORN pageINTER 15 VIEW p10 More News . 4 Charts: #1 Jazz Album – David ‘Fathead’ Newman #1 Smooth Album – Dave Koz #1 Smooth Single – Soul Ballet JazzWeek This Week EDITOR Ed Trefzger When you look at the success Dave Love has had in his career, CONTRIBUTING EDITORS you might say that the Heads Up founder and president has been Keith Zimmerman Kent Zimmerman lucky. But I’d say that he proves the adage that successful people Tad Hendrickson create their own luck through their hard work. We feature Dave CONTRIBUTING WRITER this week as we celebrate the 15th anniversary of Heads Up, and Tom Mallison take a look at the origins and the future of the label. Dave’s ap- PHOTOGRAPHY proach to his business – his focus on quality, his attention to de- Barry Solof tail, the great love he has for the music and his artists – is not only PUBLISHER a great model for running a record label, but for running any busi- Tony Gasparre ness. ADVERTISING: Contact Tony Gasparre We salute Dave and all of the hard-working folks at Heads Up (585) 235-4685 x3 or and Telarc on this milestone. email: [email protected] Heads Up joins many independent labels in signing artists SUBSCRIPTIONS: Prices in US Dollars: that formerly were with major labels. That label scored what Dave Charter Rate: $199.00 per year, Love calls a “coup” in signing Michael Brecker; another coup was JazzWeek w/ Industry Access – Charter Rate: $249.00 per year inking the Yellowjackets. With a new CD on the way, Tad Hen- To subscribe using Visa/MC/Discover/ drickson had a chance to catch up with the group’s Russell Fer- AMEX/PayPal go to: http://www.jazzweek.com/account/ rante. This electric/fusion/smooth/jazz group has been around for subscribe.html more than a quarter century, and doesn’t neatly pigeonhole in ei- ther the traditional or smooth jazz categories as they create their own original sound. AIRPLAY MONITORING BY Next week, Tad catches up with another fascinating artist, Ravi Coltrane. Mediaguide A quick reminder that registration is ongoing for JazzWeek 1000 Chesterbrook Blvd. Summit 2005 in Syracuse, N.Y. Festival producer Frank Malfit- Suite 150 Berwyn, PA 19312 ano is lining up some exciting music for the Syracuse Jazz Fest, which happens concurrently with the Summit. All registrants JazzWeek (ISSN 1554-4338) receive VIP passes to the festival, and all subscribers receive a is published weekly by $50 discount on registration. Early bird registration runs through March 31 at jazzweek.com/summit/, or you may use the registra- tion form inside this issue. 2117 Buffalo Road – Ed Trefzger, Editor Suite 317 Rochester, NY 14624 phone: (585) 235-4685 fax: (585) 235-4685 [email protected] Copyright ©2005 Yellow Dog Communications Inc. jazzweek.com • March 9, 2005 JazzWeek 2 Contents March 9, 2005 News . 4 Michel Camilo Scholarship Created For Dominican Student At Berklee . 4 Fourth Brubeck Festival Lineup Announced . 5 Playboy Jazz Festival Announces Lineup . 5 Savoy to Release Two-Disc Charlie Parker Retrospective . 6 Chet Baker and Dizzy Gillespie Kick Off the Shout! Factory Career Series . 8 10 Birthdays . 10 Features Heads Up International Celebrates 15 Years . 11 Artist Q&A: Russell Ferrante of the Yellowjackets . 16 Reviews and Picks . 20 Joel Forrester and People Like Us . 20 Los Hombres Calientes. 20 Hot Club Of San Francisco . 20 16 Editors’ Picks . 21 Jazz Charts . 22 Jazz Album Chart . 23 Jazz Add Dates . 24 Jazz Current CDs . 25 Jazz Radio Panel . 31 Smooth Jazz Charts . 27 Smooth Album Chart . 28 22 Smooth Singles Chart. 29 Smooth Current CDs . 30 Smooth Radio Panel . 31 27 Cover Photo: Dave Love, courtesy Heads Up International JazzWeek Volume 1 Issue 16 jazzweek.com • March 9, 2005 JazzWeek 3 News MICHEL CAMILO SCHOLARSHIP CREATED FOR DOMINICAN STUDENT AT BERKLEE BOSTON, March 4 – Grammy award- Dominican musician for several years Michel’s mission to bring a young mu- winning pianist and composer Michel now,” said Camilo. “I have been ex- sician from the Caribbean to Berklee, Camilo has announced that a full-tu- tremely fortunate in my life and in my and we are honored to participate.” ition, full room and board scholarship career, and I feel equally fortunate to Students wishing to apply for the to Berklee College of Music in Boston have partners, in Mike Dreese, and scholarship should contact Berklee will be presented to a student from the Berklee College of Music, who share College of Music at 617-747-8681, or Dominican Republic this year. my dream, and have helped me make on the web at scholarships@berklee. this scholarship into a reality.” edu and ask for a Michel Camilo As a young man growing up Scholarship application. An applica- and studying piano in Santo Domin- tion and guidelines for creating an au- go, Camilo came to know the college dition tape will be sent out that day. through jazz lessons he studied by mail, A web-based application is available at using Berklee books and recordings. www.berklee.edu/scholarships/cami- In more recent years, he has enjoyed lo. a close relationship with the pioneer- Fascinated with music since child- ing Boston music college, giving clin- hood, Michel Camilo composed his ics and master classes for its students. first song at the age of five, and studied In 2000, for his many and enduring for 13 years at the National Conserva- contributions to the world of music, tory in Santo Domingo. At 16, he be- Camilo was presented with Berklee’s came a member of the National Sym- honorary doctorate degree. He is cur- phony Orchestra. In 1979, he moved rently serving the college as an Alpert to New York to continue his studies Visiting Professor, sponsored by the at Mannes and Juilliard, and shortly Herb Alpert Foundation. thereafter his tune “Why Not?” was Telarc After Camilo created the scholar- recorded both by Paquito D’Rivera, Michel Camilo ship, Mike Dreese, founder and CEO and the Manhattan Transfer, the lat- of Boston’s nationally-known New- ter winning a Grammy for their vocal The Michel Camilo Scholarship bury Comics record store chain, and a rendition. will be presented to a young musician, member of Berklee’s board of trustees, The 1980s brought Camilo’s either Dominican-born, or of Domin- decided that he wanted to make a ma- Carnegie Hall debut with his trio, re- ican descent, with both exceptional jor contribution to the fund, to allow cordings for Sony, and awards from talent and a passion for a career in mu- the recipient to attend the college for a Billboard, and Gavin for his jazz work sic. The scholarship recipient will be full four years. as well as many commissions and per- able to attend Boston’s Berklee Col- “Michel is one of the great stars formances of his classical work with lege of Music, alma mater to such mu- of this music, and one of the most ar- major symphony orchestras. In 2004, sical luminaries as Quincy Jones, Juan dent advocates for music education Camilo won the Grammy for Best Luis Guerra, Diana Krall, John May- that I’ve met,” said Dreese. “Berklee Latin Jazz Album, for his Live at the er, and Danilo Pérez, with all tuition is dear to me, in large part because of Blue Note disc on Telarc, and was Jazz- and housing paid through graduation. the amazing opportunity it represents Week’s Artist of the Year. His brand “It has been a dream of mine to for students from all over the world to new disc, Solo, also for Telarc, debuted help create a scholarship for a young meet and play together. I felt moved by Jan. 25. JW jazzweek.com • March 9, 2005 JazzWeek 4 News Fourth Brubeck Festival Lineup Announced STOCKTON, Calif. – The Brubeck ic Jazz Ensemble, The Young Sounds in Stockton, Calif., the Brubeck Insti- Festival 2005 will present the work of of San Joaquin, and The Joe Gilman tute includes an innovative jazz stud- legendary pianist and composer Dave Trio celebrating the release of their lat- ies program designed to identify and Brubeck, as well as new compositions est CD: Time Again – Brubeck Revisit- train the next generation of great jazz by artists he has inspired, in diverse ed Volume 2. musicians. Christian McBride, artistic settings – from symphonic pieces to In addition, the University of the director, said, “Thanks to Dave Bru- chamber music, small-group and big- Pacific Library will present an exhib- beck and the University of the Pacif- band jazz, to ballet and academic sym- it from the Dave Brubeck Collection ic for realizing what’s important – giv- posia. Marking its fourth anniversary including original musical scores and ing young musicians an atmosphere in with an array of world-class artists in photographs documenting his career which to grow.” five venues, the Brubeck Festival cel- as a composer. All festival details can be found ebrates diversity, crossing musical and Established in 2000 by Dave Bru- online at http://www.brubeckinsti- performance boundaries and reflecting beck and the University of the Pacific tute.org.
Recommended publications
  • Lecture Outlines

    Lecture Outlines

    CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS Lecture Outlines Lecture 1: Hip-Hop and Techno I. Hip-Hop Breaks Out (1980s–1990s) A. In the mid-1980s, rap moved into the popular mainstream. B. 1986 saw the release of the first two multiplatinum rap albums: 1. Raising Hell by Run-D.M.C. a) Number Three on Billboard’s pop albums chart b) Over three million copies sold 2. Licensed to Ill by the Beastie Boys a) Number One for seven weeks b) Over seven million copies sold 3. Expansion of the audience for hip-hop music was the key to the commercial success of these albums. a) Included millions of young white fans, attracted by the rebelliousness of the genre C. Both Raising Hell and Licensed to Ill were released on a new independent label called Def Jam. CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS 1. Co-founded in 1984 by the hip-hop promoter Russell Simmons and the musician-producer Rick Rubin 2. Cross-promoting a new generation of artists 3. Expanding and diversifying the national audience for hip-hop 4. In 1986, Def Jam became the first rap-oriented independent label to sign a distribution deal with one of the “Big Five” record companies, Columbia Records. D. Run-D.M.C. 1. Trio: a) MCs Run (Joseph Simmons, b. 1964) and D.M.C. (Darryl McDaniels, b. 1964) b) DJ Jam Master Jay (Jason Mizell, b. 1965) 2. Adidas Corporation and Run-D.M.C.
  • Ronnie Scott's Jazz C

    Ronnie Scott's Jazz C

    GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 7 z 1 0 z 2 a r J MEMBERSHIP TO e b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n OR CALL: 020 74390747 m e n v o Europe’s Premier Jazz Club in the heart of Soho, London o N R Cover artist: Roberto Fonseca (Mon 27th - Wed 29th Nov) Page 36 Page 01 Artists at a Glance Wed 1st - Thurs 2nd: The Yellowjackets N LD OUT Wed 1st: Late Late Show Special - Too Many Zooz SO o Fri 3rd: Jeff Lorber Fusion v Sat 4th: Ben Sidran e m Sun 5th Lunch Jazz: Jitter Kings b Sun 5th: Dean Brown Band e Mon 6th - Tues 7th: Joe Lovano Classic Quartet r Wed 8th: Ronnie Scott’s Gala Charity Night feat. Curtis Stigers + Special Guests Thurs 9th: Marius Neset Quintet Fri 10th - Sat 11th: Manu Dibango & The Soul Makossa Gang Sun 12th Lunch Jazz: Salena Jones “Jazz Doyenne” Sun 12th: Matthew Stevens Preverbal November and December are the busiest times Mon 13th - Tues 14th: Mark Guiliana Jazz Quartet of the year here at the club, although it has to be Wed 15th - Thurs 16th: Becca Stevens Fri 17th - Sat 18th: Mike Stern / Dave Weckl Band feat. Tom Kennedy & Bob Malach UT said there is no time when we seem to slow down. Sun 19th Lunch Jazz: Jivin’ Miss Daisy feat. Liz Fletcher SOLD O November this year brings our Fundraising night Sun 19th: Jazzmeia Horn Sun 19th: Ezra Collective + Kokoroko + Thris Tian (Venue: Islington Assembly Hall) for the Ronnie Scott’s Charitable Foundation on Mon 20th - Tues 21st: Simon Phillips with Protocol IV November 8th featuring the Curtis Stigers Sinatra Wed 22nd: An Evening of Gershwin feat.
  • The Portrayal of African American Women in Hip-Hop Videos

    The Portrayal of African American Women in Hip-Hop Videos

    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything.
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass

    Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass

    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
  • Daniel Lanois

    Daniel Lanois

    ESPERANZA SPALDING If “esperanza” is the Spanish word for hope, then bassist, vocalist and composer Esperanza Spalding could not have been given a more fitting name at birth. Blessed with uncanny instrumental chops, a multi-lingual voice that is part angel and part siren, and a natural beauty that borders on the hypnotic, the 25-year-old prodigy-turned-pro might well be the hope for the future of jazz and instrumental music. Spalding was born in 1984 and raised on what she calls “the other side of the tracks” in a multi- lingual household and neighborhood in Portland, Oregon. Growing up in a single-parent home amid economically adverse circumstances, she learned early lessons in the meaning of perseverance and moral character from the role model whom she holds in the highest regard to this day – her mother. But even with a rock-solid role model, school did not come easy to Spalding, although not for any lack of intellectual acumen. She was both blessed and cursed with a highly intuitive learning style that often put her at odds with the traditional education system. On top of that, she was shut in by a lengthy illness as a child, and as a result, was home-schooled for a significant portion of her elementary school years. In the end, she never quite adjusted to learning by rote in the conventional school setting. “It was just hard for me to fit into a setting where I was expected to sit in a room and swallow everything that was being fed to me,” she recalls.
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa

    Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa

    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
  • Liebman Expansions

    Liebman Expansions

    MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world.
  • The Singing Guitar

    The Singing Guitar

    August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.
  • Brian Simpson Again Tops Album and Singles Charts

    Brian Simpson Again Tops Album and Singles Charts

    JazzWeek with airplay data powered by jazzweek.com • Jan. 23, 2006 Volume 2, Number 9 • $7.95 In This Issue: J@LC, Radio Salute Pittsburgh. 4 Botti In PBS Spring Pledge Special . 5 MakeMusic Offers IAJE Special on SmartMusic . 6 Passings: Bob Weinstock, Phil Elwood . 6 Reviews and Picks . 15 Jazz Radio . 18 Smooth Jazz IAJE 2006 Radio. 25 WRAPUP Radio page 11 Panels. 24, 29 News. 4 Charts: #1 Jazz Album – Houston Person #1 Smooth Album –Brian Simpson #1 Smooth Single – Brian Simpson JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger othing does more to charge my jets than to attend IAJE each MUSIC EDITOR year. While I’m usually exhausted by the end of the conference, Tad Hendrickson Nit’s energizing to catch up with friends and colleagues, to meet CONTRIBUTING EDITORS people face-to-face for the first time, to pick up new ideas, and to be Keith Zimmerman immersed in great music. Getting to spend time at a couple NYC clubs Kent Zimmerman is a big bonus. CONTRIBUTING WRITER/ The most thrilling thing, though, is to see the reactions of young PHOTOGRAPHER Tom Mallison students. The unbridled enthusiasm the young crowd displayed at the PHOTOGRAPHY Stefon Harris and Javon Jackson (with show-stealer Dr. Lonnie Smith) Barry Solof sets was contagious. And it gives me great hope for the vitality and fu- ture health of jazz. Founding Publisher: Tony Gasparre ••• ADVERTISING: Devon Murphy On the subject of young people, I’m watching with great interest the Call (866) 453-6401 ext. 3 or efforts to attract a younger audience at night on WEMU and KUVO.
  • Austin, Lil Armstrong, Mary Lou Wil- Suggests That Brackeen Plays Best in Good the Lack of a Live Audience to Respond to Liams, Marian Mcpartland, and Toshiko Company

    Austin, Lil Armstrong, Mary Lou Wil- Suggests That Brackeen Plays Best in Good the Lack of a Live Audience to Respond to Liams, Marian Mcpartland, and Toshiko Company

    ART BLAKEY AND THE JAZZ MES- SENGERS: Reflections in Blue. Art Blakey (drums);Valerie Ponomarev (trumpet); Robert Watson (alto saxophone); David Schnitter (tenor saxophone); Dennis Irwin (bass); James Williams (piano). E.T.A.; Mishima; Ellington Medley; My Foolish Heart; and four others. TimELEss/MusE TI 317 $7.98. Performance:Fresh Recording:Deadened Decades come and decades go, but Art Bla- instrumentalists, especially pian-interfere with her solo playing on Pausa's key continues to run that hotbed of new tal- FEMALEists, have actively contributed to jazz"Mythical Magic" album. I don't mean toent called the Jazz Messengers. This latest since it first took on a recognizable form, dismiss JoAnne Brackeen as a solo force, Blakey release was recorded in Holland to- but it was not until the late Seventies- for it could simply be that the atmosphere ward the end of 1978, with the same person- when the feminist movement made us take at the MPS studio in Germany's Black For- nel as "In This Corner," the excellent set a retrospective look at sexism and other est hampered her spirit (many fine artists released by Concord Jazz last year. Unlike forms of discrimination-that the public at havegivendisappointingperformances that set-a live recording from a San Fran- large discovered the extent of that contribu- there for some reason), but a comparison of cisco club-this one was made in a studio, tion. JoAnne Brackeen stands out in the "Mythical Magic" with either "Prism" orbut not, I'm afraid, a first-class one; the long line of distinguished women pianist/ "Keyed In" (where she is aided by Gomez sound lacks the resiliency of a studio de- composers, which today includes Lovieand drummer Jack DeJohnette) strongly signed with regard for acoustics.
  • Flutist Quarterly Volume Xxxv, N O

    Flutist Quarterly Volume Xxxv, N O

    VOLUME XXXV , NO . 1 FALL 2009 THE LUTI ST QUARTERLY The Flute in Argentin a: Beyond Piazzolla and Ginastera The Voice of Composer George Crumb Quality Resources for Jazz Flute François Devienne, Part Two THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 1 F ALL 2009 DEPARTMENTS 5 From the Chair 57 NFA News 7 From the Editor 59 Passing Tones 11 High Notes 62 New Products 14 Annotations 64 Reviews 47 Across the Miles 70 NFA Office, Coordinators, 52 From the Research Chair Committee Chairs 54 Lifetime Achievement Awards 74 Index of Advertisers 18 FEATURES 18 The Flute in Argentina: Beyond Piazzolla and Ginastera by Ana Laura González In the 19th century, t he relatively young nation of Argentina found its musical identity . Three composers—Amancio Alcorta, Alberto Williams, and Ángel Lasala—represent the country’s musical evolution into a nationalistic sound through selected works for flute. 24 Vox Crumb by Julie Hobbs The celebrated American composer George Crumb speaks about his music, “contemporary” composers such as Mozart, nature’s role in his writing, and voices of whales 30 Quality Resources for Jazz by Lisa Lorenzino Whether you are seeking books to peruse, articles to read, or Web sites to use as springboards for further information, the best sources for information and enlightenment about all things jazz flute are reviewed here in one comprehensive space. 24 38 Seeking François Devienne, Part Two by William Montgomery Despite his associations with recently rousted royalty, the business-savvy composer of 18th-century France not only survived but thrived in the Revolutionary era, performing, composing—and collecting healthy royalties.
  • Jazzweek SPYRO GYRA

    Jazzweek SPYRO GYRA

    JazzWeek with airplay data powered by jazzweek.com • March 13, 2006 Volume 2, Number 16 • $7.95 In This Issue: BET Jazz Becomes ‘BET J’ . 4 Najee Wins NAACP Image Award . 5 Essentially Ellington Finalists . 6 Music and Industry News In Brief . 7 Reviews and Picks . 14 Jazz Radio . 18 Smooth Jazz Stylistically Unapologetic: Radio. 25 Radio SPYRO GYRA Panels. 24, 29 News. 4 Q&A with Jay Beckenstein ... page 10 Charts: #1 Jazz Album – David “Fathead” Newman #1 Smooth Album – Richard Elliot #1 Smooth Single – Richard Elliot JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger egistration will open on Monday, March 13 for the Jazz- MUSIC EDITOR Tad Hendrickson Week Summit 2006. Because of the change in our busi- Rness structure and ownership, we were delayed in making CONTRIBUTING EDITORS final arrangements until three months later than we had planned. Keith Zimmerman Kent Zimmerman In the interim, all available hotel rooms in downtown Roches- CONTRIBUTING WRITER/ ter, N.Y., were booked for a large religious convention during the PHOTOGRAPHER weekend we had originally targeted. As a result, we’ve had to move Tom Mallison the Summit one week later than our originally published dates of PHOTOGRAPHY June 8-10. We apologize for the inconvenience. It is our plan to Barry Solof have firm dates for 2007 by December of this year. Founding Publisher: Tony Gasparre This year’s Summit will run from Thursday, June 15 through Saturday, June 17, coinciding with the final three days of the ADVERTISING: Devon Murphy Rochester International Jazz Festival. The host hotel will be the Call (866) 453-6401 ext.