DOCSLIB.ORG

A Swing-Informed Approach to Performing Jazz- and Blues-Influenced Western Art Music for Violin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Swing-Informed Approach to Performing Jazz- and Blues-Influenced Western Art Music for Violin Spaces in Between: A Swing-Informed Approach to Performing Jazz- and Blues-Influenced Western Art Music for Violin by Sang Kyun Koh A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Graduate Department of Music University of Toronto © Copyright by Sang Kyun Koh 2017 Spaces in Between: A Swing-Informed Approach to Performing Jazz- and Blues-Influenced Western Art Music for Violin Sang Kyun Koh Doctor of Musical Arts Graduate Department of Music University of Toronto 2017 Abstract This dissertation explores issues related to performing art music for the violin that references jazz and blues. Because western notation cannot convey many subtleties of rhythm, typical scores provide imprecise instructions for creating swing, which is for many a defining feature of jazz and the blues. Moreover, since swing is not one sound or rhythmic sense, scores convey little about how a composer understands it. My aim is to help performers better realize a composer’s conceptualization of swing. Following an overview of scholarship on swing, I analyze the “Blues” movement from Ravel’s Violin Sonata No.2, Copland’s Nocturne and Ukulele Serenade, and the “Socrates: Alcibiades” movement from Bernstein’s Serenade after Plato’s “Symposium.” To understand how each ii composer conceptualized and notated swing, I explore jazz and blues recordings that are representative of their respective time periods. My analysis of each composer’s notion and notation of swing is supplemented by interviews with expert jazz musicians, who assessed several recorded versions of the pieces. Their comments helped me pinpoint and analyze key factors that contributed to their preferences. Although certain subtle processes emerged as fundamental to a swing-informed approach, it became clear that a strict “how-to” guide to performing swing was problematic. I also found that less rhythmic alteration can actually be the best strategy for creating swing. To further explore how classically trained violinists can convey swing, I explore five playing techniques. They are not far removed from accepted classical methods and do not require radical reworking of playing mechanics or the music. However, as I argue, they do illustrate the need for performers to be aware of jazz violin practices to better express swing’s sensibilities. While the swing-informed approach provided is a general guideline to performing swing- influenced pieces for violin, it is my hope that the methodology will be a blueprint for performers of any instrument who wish to make informed choices that better realize composers’ “high-level” intentions. iii Acknowledgments The following people made the writing of this dissertation possible: Evan Price, David Balakrishnan, Matthew Glaser, and Andrew Downing: Thank you for participating in my research and for sharing your knowledge and experiences. Your thoughts and words were invaluable in navigating the elusive concepts discussed herein. Dr.Jeff Packman: Thank you for showing me that with care, patience, and perseverance, a bad idea can be made good. Your continuous support, words of advice, and meticulous editing were crucial in the writing process, and I am truly lucky to have had you as my Supervisor. Dr.Ryan McClelland: Thank you for joining my committee and helping me to refine my writing, research strategies, and organizational skills. Your succinct suggestions were immensely helpful in clarifying my thoughts and in helping me develop into a more analytical and methodical writer and musician. Dr.Tim Ying: Thank you for being a member of my dissertation committee and for showing me that deep thinking takes commitment, patience, and persistence. Your emphasis on quality pushed me to become a better scholar, performer, and thinker, and I am extremely grateful for your honesty throughout this entire process. iv My Family: Thank you for everything. Without your unconditional support and love, this dissertation would certainly not have been possible. To you all, I dedicate this dissertation. v Table of Contents Abstract ................................................................................................................................ ii Acknowledgments ............................................................................................................... iv Table of Contents .................................................................................................................. v List of Sound Clips ................................................................................................................vii List of Video Clips ................................................................................................................. xi List of Figures .......................................................................................................................xii List of Appendices .............................................................................................................. xvii Introduction ...................................................................................................................... xviii First Steps toward a Definition of “Swing” and “Swing-Informed”: Jazz and the Concept of “Swing” in the 1910s .......................................................................................................................................... 4 Methodology: Secondary and Primary Source Literature .................................................................... 8 Sound Recording Analyses ................................................................................................................... 9 Interviews with Elite Jazz Performers ................................................................................................ 10 Video Recording Analysis ................................................................................................................... 11 Structure of the Dissertation .............................................................................................................. 11 Significance for Future Musicians....................................................................................................... 13 Chapter 1 What is Swing? .................................................................................................... 15 Theorizing Swing ................................................................................................................................. 15 Syntactical Analytical Method in Discussing Swing ............................................................................ 16 Processual Analytical Method in Discussing Swing ............................................................................ 17 Empirical Analytical Method in Discussing Swing .............................................................................. 18 Returning to Hodeir ............................................................................................................................ 19 Phrase Rhythms in Hodeir’s Formulation ........................................................................................... 24 Process vs Syntax ................................................................................................................................ 27 Hodeir’s Third Ingredient: Getting Notes and Accents in the Right Place ......................................... 29 vi Theorizing Articulation in the Creation of Swing ............................................................................... 30 “Correct Placement of Notes” and the “Rhythmic Pocket” ............................................................... 33 Relaxation and Vital Drive .................................................................................................................. 36 “Relaxation” and “Vital Drive” in Performance of WAM ................................................................... 38 Simultaneity of Relaxation and Vital Drive in Jazz.............................................................................. 39 Conclusion .......................................................................................................................................... 40 Chapter 2 Towards Understanding Ravel’s, Copland’s, and Bernstein’s Conceptualizations of Swing .................................................................................................................................. 42 Influence of Early Jazz and Bebop on Composers of the 20th Century and after ............................... 42 Sound Recordings ............................................................................................................................... 44 Selection of Sound Recordings ........................................................................................................... 46 Maurice Ravel (1875-1937) ................................................................................................................ 47 Ravel’s potential swing influences: Smith, Mitchell, and Europe ...................................................... 48 Aaron Copland (1900-1990) ............................................................................................................... 55 Examples of “Molecule of Jazz” .......................................................................................................... 58 Sorting Out the Contradictions..........................................................................................................
Load more

Recommended publications
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Adapting the Language of Charlie Parker to the Cello Through Solo
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2007 Yardbird cello: adapting the language of Charlie Parker to the cello through solo transcription and analysis Kristin Isaacson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Isaacson, Kristin, "Yardbird cello: adapting the language of Charlie Parker to the cello through solo transcription and analysis" (2007). LSU Doctoral Dissertations. 3038. https://digitalcommons.lsu.edu/gradschool_dissertations/3038 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. YARDBIRD CELLO: ADAPTING THE LANGUAGE OF CHARLIE PARKER TO THE CELLO THROUGH SOLO TRANSCRIPTION AND ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In Partial fulfillment of the Requirements for the Degree of Doctor of Musical Arts In The School of Music By Kristin Isaacson B.M. Indiana University, 1998 M.M. Louisiana State University, 2000 December 2007 ACKNOWLEDGMENTS This document is dedicated to the memory of my grandmother, Virginia Rylands, a remarkable woman and jazz pianist who came of age in the Kansas City of Charlie Parker’s youth. She inspired my interest in this music. I would like to extend special thanks to my parents, Mary Lou and Phillip, and to my brother and musical colleague, Peter Isaacson for his encouragement along the way.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • Boyer College of Music and Dance 2018-2019 Event Calendar
    2018-2019 Event Calendar Boyer College of Music and Dance Thursday, August 30 at 4:30-6:30pm Rite of Swing Jazz Café: Scott Edmunds, piano Featuring Tim Warfield, sax/composer Temple Performing Arts Center Lobby Tuesday, September 4 at 5:30pm Dance Studies Colloquium Series: AnusHa KedHar, UC Riverside Breaking Point?: Flexibility, Pain, and tHe Calculus of Risk in Neoliberal Multiculturalism CHAT Lounge, Gladfelter Hall, 10th floor Thursday, September 6 at 4:30-6:30pm Rite of Swing Jazz Café: George Burton, piano Temple Performing Arts Center Lobby Friday, September 7 at 1:00pm Friday, September 7 at 2:15pm World Music Lecture-Performance: Irish Dance Arronson Hall Friday, September 7 at 7:30PM Master's Recital: Andrew DiGiandomenico, guitar Rock Hall Auditorium Thursday, September 13 at 4:30-6:30pm Rite of Swing Jazz Café: Bootsie Barnes & Larry McKenna, sax CD Release Event/Jazz Industry Day Temple Performing Arts Center Lobby Friday, September 14 at 7:30pm Saturday, September 15 at 7:30pm Beneath tHe Surface – Dara J. Meredith Presents An in-depth journey exploring aspects of mental illness through the lens of contemporary, athletic, African diasporic movement. Tickets $20 in advance at Brown Paper Tickets at bpt.me or 1-800-838-3006. Available at tHe door for $25, 30 minutes before each show. Conwell Dance Theater Tuesday, September 18 at 2:00pm World Music Lecture-Performance: Mohamed Abozekry & Karkadé, Egyptian instrumental ensemble Rock Hall Auditorium Tuesday, September 18 at 8:00pm Temple NigHt @ SoutH: Chris Oatts, sax Chris Oatts - sax Silas Irvine - piano Rodney Green - drums Sam Harris - bass South Jazz Kitchen, 600 N.
    [Show full text]
  • Press Kit 2017
    BIOGRAPHY BIOGRAPHY One of his generation’s extraordinary talents, Scott Tixier has made a name for himself as a violinist-composer of wide- ranging ambition, individuality and drive — “the future of jazz violin” in the words of Downbeat Magazine and “A remarkable improviser and a cunning jazz composer” in those of NPR. The New York City-based Tixier, born in 1986 in Montreuil, France has performed with some of the leading lights in jazz and music legends from Stevie Wonder to NEA jazz master Kenny Barron; as a leader as well. Tixier’s acclaimed Sunnyside album “Cosmic Adventure” saw the violinist performing with a all star band “taking the jazz world by storm” as the All About Jazz Journal put it. The Village Voice called the album “Poignant and Reflective” while The New York Times declared “Mr. Tixier is a violinist whose sonic palette, like his range of interests, runs open and wide; on his new album, “Cosmic Adventure,” he traces a line through chamber music, Afro-Cuban groove and modern jazz.” When JazzTimes said"Tixier has a remarkably vocal tone, and he employs it with considerable suspense. Cosmic Adventure is a fresh, thoroughly enjoyable recording!" Tixier studied classical violin at the conservatory in Paris. Following that, he studied improvisation as a self-educated jazz musician. He has been living in New York for over a decade where he performed and recorded with a wide range of artists, including, Stevie Wonder, Kenny Barron, John Legend, Ed Sheeran, Charnett Moffett, Cassandra Wilson, Chris Potter, Christina Aguilera, Common, Anthony Braxton, Joss Stone, Gladys Knight, Natalie Cole, Ariana Grande, Wayne Brady, Gerald Cleaver,Tigran Hamasyan and many more He played in all the major venues across the United States at Carnegie Hall, the Radio City Music Hall, Madison Square Garden, Barclays Center, Jazz at Lincoln Center, the Blue Note Jazz Club, the Apollo Theater, the Smalls Jazz Club, The Stone, Roulette, Joe's Pub, Prudential Center and the United States Capitol.
    [Show full text]
  • Yamit Lemoine on Jazz Violin & New Album Ain't Misbehavin'
    Yamit Lemoine on Jazz Violin & New Album Ain’t Misbehavin’ By Grant Albert | September 24, 2019 ​ ​ We are in an era of nostalgia: vinyl records are poised to outsell CD’s for the first time since 1986, baggy clothes that resemble 90s fashion are back with aplomb, and appreciation for the jazz masters’ like Miles Davis are hitting a new high. It only makes sense that artist like Yamit Lemoine are spurring nostalgic sentiment. The Israeli born, Toronto raised, Miami resident formed Yamit and The Vinyl Blvd—a classical jazz ensemble that brings funk, groove, and melody into harmonious overtures all over Miami. Yamit plays both the violin and sings the great classics from the 1920’s through the 1960’s. Yamit’s debut album ​Ain’t Misbehavin’​ is a delightful passage through time. The 12-track album brings swaying sounds that combine with Yamit’s delicate, but forceful voice which transports the listener through the great jazz ages from humble beginnings to the inspiring heights of the 1960’s. In a society where new information is thrown onto us in seconds, it never hurts to take a step back and listen to the classics sung by a new voice. You recently released your debut, Ain’t Misbehavin’ can you explain the process and your thoughts about the album? Yamit Lemoine: For me, the process of producing an album is a bit like cooking. When you have great ingredients and know how to put them together – it’s bound to be good. The musicians on the album are incredible, and the tunes are from the Great American Songbook – how can you go wrong? I chose a selection of tunes that we usually played at the gigs – recording them was the natural progression for those tunes because they’ve already taken their organic shape on the stage.
    [Show full text]
  • Birth of the Cool
    Mateusz Smoczynski, Violin David Balakrishnan, Violin, Baritone Violin Benjamin von Gutzeit, Viola Mark Summer, Cello Birth of the Cool Reaching for lyricism and gentler textures as a reaction to the fiery sounds of bebop, the renowned musicians who performed on the seminal recording, Birth of the Cool, consider it a tipping point towards the style that became known as “Cool Jazz.” The living embodiment of cool, Miles Davis, and his colleagues, Gil Evans, Gerry Mulligan, Lee Konitz, etc., set the table for a slew of legendary groups that shared their vision. From the Modern Jazz Quartet and Gunther Schuller of third stream music, to the west coast sounds of the Dave Brubeck Quartet with Paul Desmond, to the iconoclastic melodic lines of pianist Lennie Tristano, their particular brand of innovative genius echoed into the myriad jazz fusion blends of the seventies and eighties. Ultimately, this created the perfect conditions for an audacious group of four string players equally grounded in jazz improvisation and classical technique, to split the Eurocentric string quartet atom. In addition to employing their signature groove-based rhythmic techniques to transform classic selections from the recording of Birth of the Cool such as Israel, Venus De Milo, and Jeru into jazz string quartet masterpieces, the two time GRAMMY® winning Turtle Island Quartet will take a wide swath through the many other avenues traversed by these intrepid explorers of cool. Perennial favorites such as Dave Brubeck’s Blue Rondo A La Turk and Gerry Mulligan’s Bernie’s Tune conjoin with Miles Davis’s dreamy Miles Ahead, and the Modern Jazz Quartet’s darker Django.
    [Show full text]
  • History of Jazz Violin, OLLI, Berkeley – Winter 2019 - Jan
    History of Jazz Violin, OLLI, Berkeley – Winter 2019 - Jan. 28 - Mar. 11, 10 am – 12 pm, University Hall Room 41B Mr. J. Kit Eakle – presenter, email: [email protected] Class Description: Though sometimes considered an anomaly in jazz, violinists have been central to creating some of its most exciting, innovative music. Discover the reasons for this disconnect, the influential jazz violinists of the past century, and how their music reflects the social, racial, technological, and musical influences of their times. We will trace the violin’s influence from the eras of African prehistory, slavery, and “pre-jazz,” to the birth of the blues, swing, be-bop, and beyond through vintage recordings and live demonstrations. CLASS 1: (Mon., Jan. 28) – 1700 and before – 1900: Pre-History to Pre-Jazz: Violin/Fiddle in Africa, slavery in the “New World,” to Will Marion Cook, Anton Dvorak and the beginnings of Jazz CLASS 2 (Mon., Feb. 4) – 1900- 1925: The Birth of Jazz in NEW ORLEANS Uptown/Downtown and the Territory Bands - Violinists as the first Jazz Band Leaders to James Reese Europe, WW I and the ‘New Negro.’ CLASS 3 (Mon., Feb. 11) – 1925 – 1950: Moving Up to Chicago - Violin Stars of SWING: Joe Venuti, Eddie South, Stéphane Grappelli, Claude Williams, to Stuff Smith, Harry Lookoffsky and the beginnings of BeBop CLASS 4 (Mon., Feb. 25): 1950 – 1975: Modern Jazz, The Birth of the ‘Cool’ and Third Stream to Free Jazz and Fusion CLASS 5 (Mon., Mar. 4): No Instrument OR Genre Is An Island: Influences of (and on) classical, country, blues, bluegrass, latin, and popular musical genres and developing sound and recording technologies CLASS 6 (Mon., Mar 11): The Post-Modern (Post-Racial???) Generation: 1975 to the present.
    [Show full text]
  • New Books 8-03
    New Books 8-03 New Titles for August 2003 Following is a list of new titles added to the State Library collection during August of 2003. Entries are arranged in classified order, according to the Dewey Decimal Classification's ten main classes, with the addition of a few categories of local interest. This month, for the first time, we are including our new audiovisual titles. As of July, 2003, Louisiana State documents are no longer included. Lists of newly-acquired state publications are posted on the Recorder of Documents site. For information on how you may borrow these and other titles, please consult Borrowing Materials on the Library’s home page. 300 Social Sciences Louisiana Titles 400 Language Large Print 500 Natural Sciences & Mathematics Audiovisuals 600 Technology (Applied Sciences) 000 Generalities/Computing 700 The Arts (Fine & Decorative Arts) 100 Philosophy & Psychology 800 Literature & Rhetoric 200 Religion 900 Geography & History Generalities/Computing Monsters : evil beings, mythical beasts, and all manner of imaginary terrors / David D. Gilmore. Philadelphia : University of Pennsylvania Press, c2003. 001.944 Gil 2003 Sams teach yourself C++ in 21 days / Jesse Liberty. Indianapolis, IN : Sams, c2001. DISK 005.133 Lib 2001 Sams teach yourself Red Hat Linux 8 in 24 hours / Aron Hsiao. Indianpolis : Sams, c2003. DISK 005.4469 Hsi 2003 CoursePrep examguide/studyguide MCSE exam 70-270 : installing, configuring, and administering Microsoft Windows XP Professional / [James Michael Stewart]. Boston, Mass. : Course Technology/Thomson Learning, c2002. 005.4469 Ste 2002 Essential blogging / Cory Doctorow ... [et al.]. Sebastopol, Calif. : O'Reilly, c2002. 005.72 Ess 2002 Information architecture for the World Wide Web / Louis Rosenfeld and Peter Morville.
    [Show full text]
  • Kalamazoo College Academic Catalog
    KALAMAZOO COLLEGE 2021-2022 ACADEMIC CATALOG Shared Passages The Shared Passages Program is a curricular thread that integrates features of the K-Plan. Required in the first, sophomore, and senior years, Shared Passages courses provide a developmental, pedagogical, and intellectual arc to the liberal arts experience and create a "backbone" to an effective, flexible liberal arts education in which the whole is greater than the sum of its component parts. First-Year Seminars First-Year Seminars constitute the gateway to the K-Plan and to college life for entering students and serve as the foundation of the Shared Passages Program. Offered in the fall quarter, these Seminars are designed to orient students to college-level learning practices, with particular emphasis on critical thinking, writing, speaking, information literacy, and intercultural engagement. First-Year seminars SEMN 101 FYS: Dissent: Sites of Protest and Resistance Dissent, in its different forms, has shaped history and continues to claim ground for theory and action, in increasingly urgent ways, in the digital age. New technologies of surveillance, discrimination, and oppression emerge and digitally enabled injustices and forms of violence and inequality, (re-) appear often continuing past legacies of colonialism and exploitation. At the same time, new sites and platforms for subversive voices and practices are created and imagined in response. In this course, we will map these forms and spaces of oppression, violence, and inequality, but also the emerging sites of protest, resistance, and disobedience. In doing so we will think about the condition - as both a mode of thinking and praxis- of being a dissident and its new dangers and possibilities in our globalized world.
    [Show full text]
  • ISBN TITLE AUTHOR PUBLISHER/MMEDIUM AREA SHELF LOCATION QUANT 9780761453482 Born for Adventure Kathleen Karr Two Lions Hardcover
    ISBN TITLE AUTHOR PUBLISHER/MMEDIUM AREA SHELF LOCATION QUANT 9780761453482 Born for Adventure Kathleen Karr Two Lions Hardcover Ackerman Children's Literature: Africa 1 9780374371784 Time's Memory Julius Lester Farrar Straus GHardcover Ackerman Children's Literature: Africa 1 At the Crossroads Rachel Isadora Greenwillow Hardcover Ackerman Children's Literature: Africa 1 9780517885444 Tar Beach Faith Ringgold Dragonfly BooPaperback Ackerman Children's Literature: Africa 1 Never Forgotten Patricia McKissack Schwartz and Hardcover Ackerman Children's Literature: Africa 1 9781563978227 Madoulina (Story from West Africa) Joe Bognomo Boyds Mills PrPaperback Ackerman Children's Literature: Africa 1 9780374312893 Circle Unbroken Margot Theis Raven Farrar, Straus Hardcover Ackerman Children's Literature: Africa 1 9780688102562 African Beginnings Kathleen Benson; James Haskins Amistad Hardcover Ackerman Children's Literature: Africa 1 9780688151782 Storytellers, The Ted Lewin Harpercollins Hardcover Ackerman Children's Literature: Africa 1 9780027814903 Abiyoyo Pete Seeger Simon and SchHardcover Ackerman Children's Literature: Africa 1 9780671882686 Fire on the Mountain Earl B. Lewis Simon & SchuHardcover Ackerman Children's Literature: Africa 1 9780690013344 Honey, I Love and Other Love Poems Eloise Greenfield HarperCollins Hardcover Ackerman Children's Literature: Africa 1 9780545270137 One Hen: How One Small Load Made a Big Difference Katie Smith Milway Scholastic Paperback Ackerman Children's Literature: Africa 2 Man of the People: A Novel
    [Show full text]
  • Arturo O'farrill Ron Horton Steve Potts Stan Getz
    SEPTEMBER 2015—ISSUE 161 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM GARY BARTZ musical warrior ARTURO RON STEVE STAN O’FARRILL HORTON POTTS GETZ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East SEPTEMBER 2015—ISSUE 161 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Arturo O’Farrill 6 by russ musto [email protected] Andrey Henkin: [email protected] Artist Feature : Ron Horton 7 by sean fitzell General Inquiries: [email protected] On The Cover : Gary Bartz 8 by james pietaro Advertising: [email protected] Encore : Steve Potts by clifford Allen Editorial: 10 [email protected] Calendar: Lest We Forget : Stan Getz 10 by george kanzler [email protected] VOXNews: LAbel Spotlight : 482 Music by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin For subscription assistance, send check, cash or money order to the address above or email [email protected] Festival Report 13 Staff Writers David R. Adler, Clifford Allen, CD Reviews 14 Fred Bouchard, Stuart Broomer, Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Miscellany 39 Brad Farberman, Sean Fitzell, Kurt Gottschalk, Tom Greenland, Event Calendar Alex Henderson, Marcia Hillman, 40 Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Russ Musto, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Alto saxophonist Gary Bartz (On The Cover) turns 75 this month and celebrates with two nights at Dizzy’s Club.
    [Show full text]