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Pasic 2001 Marching Percussion Festival
TABLE OF CONTENTS 2 Welcome Messages 4 PASIC 2001 Planning Committee 5 Sponsors 8 Exhibitors by Name/Exhibitors by Booth Number 9 Exhibitors by Category 10 Exhibit Hall Map 12 Exhibitors 24 PASIC 2001 Map 26 PASIC 2001 Area Map 29 Wednesday, November 14/Schedule of Events 34 Thursday, November 15/Schedule of Events 43 Friday, November 16/Schedule of Events 52 Saturday, November 17/Schedule of Events 60 Artists and Clinicians 104 Percussive Arts Society History 2001 111 Special Thanks/PASIC 2001 Advertisers NASHVILLE NOVEMBER 14–17 2 PAS President’s Welcome It is a grim reminder of the chill- from this tragedy. However, in a happier world that lies ® ing events that shook the U.S. this land of diversity, we all deal ahead for all of us. on September 11. I am espe- with grief and healing in differ- cially grateful to all of our PAS ent ways. I’m in no way international members who sent trivializing this tragedy when I personal messages to me, tell you that I’m especially look- members of the Board of Direc- ing forward to seeing friends tors, and into the PAS office in and colleagues from around the www.pas.org Lawton, Oklahoma. Your out- globe at PASIC in Nashville. pouring of support and conso- Percussion is the passion that oday, as I sit to write my lation are deeply appreciated. binds us all and allows us to T“welcome to PASIC” I applaud those of you who come together in a common message, I realize that our have offered to use your re- place to see our friends, hear world has forever changed. -
Billy Joel's Turn and Return to Classical Music Jie Fang Goh, MM
ABSTRACT Fantasies and Delusions: Billy Joel’s Turn and Return to Classical Music Jie Fang Goh, M.M. Mentor: Jean A. Boyd, Ph.D. In 2001, the release of Fantasies and Delusions officially announced Billy Joel’s remarkable career transition from popular songwriting to classical instrumental music composition. Representing Joel’s eclectic aesthetic that transcends genre, this album features a series of ten solo piano pieces that evoke a variety of musical styles, especially those coming from the Romantic tradition. A collaborative effort with classical pianist Hyung-ki Joo, Joel has mentioned that Fantasies and Delusions is the album closest to his heart and spirit. However, compared to Joel’s popular works, it has barely received any scholarly attention. Given this gap in musicological work on the album, this thesis focuses on the album’s content, creative process, and connection with Billy Joel’s life, career, and artistic identity. Through this thesis, I argue that Fantasies and Delusions is reflective of Joel’s artistic identity as an eclectic composer, a melodist, a Romantic, and a Piano Man. Fantasies and Delusions: Billy Joel's Turn and Return to Classical Music by Jie Fang Goh, B.M. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Jean A. Boyd, Ph.D., Chairperson Alfredo Colman, Ph.D. Horace J. Maxile, Jr., Ph.D. -
The Lords of 52Nd Street Legends of the Billy Joel Band
The Lords of 52nd Street Legends of the Billy Joel Band Monday, April 3, 2017 @ 8PM Individual Tickets: All Seats $35 Having reunited following their induction into the Long Island Music Hall of Fame in 2014 as the “Lords” (a moniker coined by late producer Phil Ramone), the Duncan Theatre will be alive with the sounds of Long Island’s best musicians, whom Billy Joel hand selected to help create his classic hits and unforgettable tours, who will reunite on stage once again as The Lords of 52nd Street! Get ready to hear an eclectic mix of tunes from the Piano Man’s music catalog including hits and rarities with the same energy and passion as you’ve always known because, well, they’ve played them countless times on countless stages the world over! The Lords of 52nd Street is New York’s favorite band comprised of Liberty DeVitto on drums, Richie Cannata on saxophone, and Russell Javors on rhythm guitar. The band recorded, toured and performed extensively with Billy Joel during his prominence in the 1970s and 1980s. The Lords aided in the creation of hit records with Billy Joel including, The Stranger, 52nd Street, and Glass Houses. In the past as Billy Joel’s touring band, The Lords of 52nd Street sold out countless shows, and performed in some of the world’s most famous arenas including, Madison Square Garden, Nassau Coliseum, Carnegie Hall, Wembley Stadium, and many other famous venues around the globe. The band is reuniting again for the first time in 30 years, and their performance is an experience that no one can miss. -
February 1990
Cover Photo by Dimo Safari CHARLIE 18 WATTS What does jazz have to do with the Rolling Stones? Stones drummer Charlie Watts fills in the puzzle piece, and provides some insights on the band's latest tour and album. Plus, transcriptions of classic Stones drumbeats. by Rick Mattingly FREDERICK Natkin 24 WAITS Paul by Frederick Waits has put his stamp on the music of Stevie Photo Wonder, the Temptations, and Smokey Robinson & the Miracles. A left turn toward jazz followed soon after, including work with Freddie Hubbard, McCoy Tyner, and a host of other jazz greats. In this interview, Frederick discusses his career with such luminaries, plus work on projects like M'Boom and Colloquium III. by Jeff Potter DEEN 28 CASTRONOVO Laird Former Tony MacAlpine drummer Deen Castronovo is now with Bad English, a band that includes rock veterans Neil Richard Schon and John Waite. Here, Deen tells what's involved with by the job, and how he has handled his shot into the big time. Photo by Robyn Flans MD DRUM 32 FESTIVAL '89 Photos and highlights of our third Festival, featuring Dave Weckl with Eyewitness, Jack DeJohnette and friends, Vinnie Colaiuta, Danny Gottlieb, Gregg Bissonette, Liberty DeVitto, Chad Wackerman, Michael Shrieve and David Beal, Carl Palmer, and taiko group Soh Daiko. MD Trivia Contest 90 Win A Sonor Drumset! VOLUME 14, NUMBER 2 EDUCATION CONCEPTS Jealousy And Gossip EQUIPMENT by Roy Burns PRODUCT 48 CLOSE-UP NEWS New Tama Hardware UPDATE ROCK 'N' JAZZ by Rick Van Horn 8 DEPARTMENTS CLINIC 44 EDITOR'S Subdividing And Evans Genera INDUSTRY Regrouping Time Drumheads OVERVIEW HAPPENINGS by Jonathan Mover by Rick Mattingly 4 56 45 106 Yamaha Peter Erskine READERS' DRUM SOLOIST Signature Snare Drum PLATFORM Dave Weckl: "Gdansk" by Rick Mattingly 6 Transcribed by Ronnie 46 REVIEWS Manaog ASK A PRO 86 ELECTRONIC ON TRACK 12 REVIEW 102 STRICTLY ddrum 2 IT'S TECHNIQUE by Rick Van Horn QUESTIONABLE Developing Your Bass 50 16 Drum Foot by Colin Bailey NEW AND DRUM MARKET 88 NOTABLE 124 112 MASTER CLASS PHOTO GALLERY Portraits In Rhythm: 128 Etude #21 by Anthony J. -
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Before they were The Lords of 52nd Street, you could find them playing at local clubs in Long Island under the band name, “Topper.” Topper was a 1960s high school rock and roll band originally formed by, Russell Javors on guitar and vocals, Doug Stegmeyer on bass, and Liberty DeVitto on drums. The band was drawing a large audiences at the time, but bassist Doug Stegmeyer quickly flew out to California to audition for the “Piano Man,” Mr. Billy Joel. Joel was looking to form a new band that will record and tour with him regularly. Stegmeyer was immediately accepted into the Billy Joel Band, and Joel asked if Stegmeyer knew any other players, specifically a New York style drummer. Stegmeyer told Joel, “You know them,” and recommended his Topper bandmates, Russell Javors and Liberty DeVitto, for the part. Doug Stegmeyer, Liberty DeVitto and Russell Javors joined Billy Joel in studio to record his 1976 album “Turnstiles.” Billy Joel was also looking specifically for a saxophone player who can play keyboards. Al Stegmeyer, Doug Stegmeyer’s father, was a sound engineer on the album, and recommended Richie Cannata to play saxophone and keyboards on the album. Cannata walked into Ultrasonic Studios in Hempstead, New York, and heard for the first time the legendary hit, “Angry Young Man.” Joel, Stegmeyer, DeVitto and Javors recorded the tune a day earlier, and Cannata was blown away by their experienced playing and speed. Cannata went into the studio and immediately recorded the unforgettable Empire State love song, “New York State of Mind.” What made the music on this album so special, were the dedicated and loyal New York musicians behind its creation. -
LEGISLATIVE RESOLUTION Commending Liberty Devitto Upon the Occasion of His Selection As a 2014 Italian-American Day Honoree
LEGISLATIVE RESOLUTION commending Liberty DeVitto upon the occasion of his selection as a 2014 Italian-American Day honoree WHEREAS, It is the sense of this Legislative Body to pay tribute to those individuals of true purpose and worthy accomplishment who foster ethnic pride and strive to preserve their cultural heritage, thereby enhancing the profile of cultural diversity which strengthens the fabric of community throughout this great Empire State; and WHEREAS, Attendant to such concern, and in full accord with its long- standing traditions, this Legislative Body is justly proud to commend Liberty DeVitto upon the occasion of his selection as a 2014 Italian-Am- erican Day Honoree; and WHEREAS, Affectionately known as the songwriter's drummer, throughout his illustrious career, Liberty DeVitto has played with Paul McCartney, Stevie Nicks, Mick Jagger, Roger Daltrey, Ronnie Spector, Karen Carpen- ter, Phoebe Snow, Elton John, Meatloaf, and many more; and WHEREAS, In 2013, Liberty DeVitto was inducted into The Classic Drummer's Hall of Fame, and for more than 40 years he has been repeated- ly featured in articles, documentaries and educational publications, most recently in the documentary "A Matter of Trust: The Bridge to Russia"; and WHEREAS, Born to Sicilian immigrants, Vincent and Josephine (Sardisco) DeVitto, Liberatori (Liberty) DeVitto was born in Brooklyn, New York, on August 8, 1950, a second generation Italian-American; and WHEREAS, Life for Liberty DeVitto began in a one room furnished apart- ment, where his mother would empty -
Scenes from the Copyright Office
Touro Law Review Volume 32 Number 1 Symposium: Billy Joel & the Law Article 7 April 2016 Scenes from the Copyright Office Brian L. Frye Follow this and additional works at: https://digitalcommons.tourolaw.edu/lawreview Part of the Intellectual Property Law Commons Recommended Citation Frye, Brian L. (2016) "Scenes from the Copyright Office," Touro Law Review: Vol. 32 : No. 1 , Article 7. Available at: https://digitalcommons.tourolaw.edu/lawreview/vol32/iss1/7 This Article is brought to you for free and open access by Digital Commons @ Touro Law Center. It has been accepted for inclusion in Touro Law Review by an authorized editor of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Frye: Scenes from the Copyright Office SCENES FROM THE COPYRIGHT OFFICE Brian L. Frye* In his iconic song, “Scenes from an Italian Restaurant,” Billy Joel uses a series of vignettes to describe an encounter between two former classmates, meeting again after many years.1 The song begins as a ballad as they exchange pleasantries, segues into jazz as they reminisce about high school, shifts to rock as they gossip about the decline and fall of the former king and queen of the prom, then returns to a ballad as they part.2 The genius of the song is that the banality of the vignettes perfectly captures the subjective experience of its protagonists. This essay uses a series of vignettes drawn from Joel’s career to describe his encounters with copyright law. It begins by examining the ownership of the copyright in Joel’s songs. -
1967The Birth of Classic Rock Drumming
WIN A VINTAGE LUDWIG KIT VALUED AT $5,730 THE WORLD’S #1 DRUM MAGAZINE THE BIRTH OF 1967 CLASSIC ROCK DRUMMING JOHN DENSMORE THE SOUNDS AND SETUPS OF WITH CONTRIBUTIONS BY LIBERTY DEVITTO, GINGER BAKER, KEITH MOON, JULY 2017 AND MITCH MITCHELL STEVE JORDAN, JIM KELTNER, PLUS THE ZOMBIES’ HUGH GRUNDY BERNARD PURDIE, AND THE MOODY BLUES’ GRAEME EDGE AND CHAD SMITH 12 Modern Drummer June 2014 MADE WITH ROBOTS, NOT COWS! EVANSDRUMHEADS.COM / CALFTONE INTRODUCING ?MbcRaf^aYbE^]WPERZRPcEVRZZDRPW_Rb͜ŬeRQWbcW]PcZh d]W`dRS^a\dZMb͜QRbWU]RQ͜PaRMcRQM]QcRbcRQc^_RaS^a\ ^_cW\MZZhW]cVRR]eWa^]\R]ccVMcORMabWcb]M\R͙ studio heritage urban stadium modern dry ?^QRa]5ahSRMcdaRbM ʎORMaW]URQUR\^eRQW]fMaQSa^\cVRbVRZZͭb^dcRaRQUR͙ FVWbd]W`dRRQUR^_cW^]͜P^\OW]RQfWcVMcVW]OZR]QRQbVRZZ^S?M_ZRM]Q8d\f^^Q͜ _a^eWQRbMS^PdbRQhRcRg_Z^bWeRc^]R͜fWcVbV^acbdbcMW]M]QMQQRQfMa\cVM]QO^Qh͙ Ada\W]W\MZP^]cMPcEF>bfWeRZZdUb͜P^\OW]RQfWcV^da?MbcRaPMbcV^^_bM]Q̈́ ?MV^UM]haRW]S^aPR\R]caW]Ub͜VRZ_c^_a^eWQRUaRMc]^cRMacWPdZMcW^]M]QMQQS^Pdb c^cVRc^]R͙FVWbWbcVR_RaSRPc\^QRa]b^d]QS^acVRW]QR_R]QR]cZh\W]QRQQad\\Ra͙ ?MbcRaf^aYb?^QRa]5ahbV^f]fWcVMORMdcWSdZ 3ZMPY>W\OM^dcRaeR]RRafWcVM3a^f]EdRQRŬ]WbV͙ >WbcR]c^?^QRa]5ah_ZMhRQOhIWZZ=R]]RQh^ScVR KRZZ^fXMPYRcbMc_RMaZQad\͙P^\ CONTENTSCONTENTS Volume 41 • Number 7 Page 31 The Birth of Classic 1967Rock Drumming Travel back fi fty years in time, as we examine the music, gear, and lives of world-renowned drummers who ushered in the classic-rock period. Exclusive interviews with John Densmore of the Doors, studio legend Hal Blaine, Carmine Appice of Vanilla Fudge, Graeme Edge of the Moody Blues, and Hugh Grundy of the Zombies. -
By Carl J. Woodin
Reprinted from Streetlife Serenade, September, 1995 David Rosenthal: Keyboardist Extraordinaire and Best Hired Gun by Carl J. Woodin On a beautiful spring day in late April, I had the pleasure to spend some time with David Rosenthal, Billy Joel's keyboard player on the River of Dreams World Tour. David is very intelligent, funny, and is an accomplished musician. In his 13 years of professional music-making, David has established a multi-faceted career that has led him to numerous stages and studios around the world. David was born in Manhattan on January 1, 1961 (he said he was very young when he was born). He lived in Brooklyn until the age of 5, when his family moved to Edison, NJ. At the age of 7, David started taking piano lessons. Unlike most kids, however, David asked for the lessons! When it came time to purchase the first piano, David saved money from his allowance and contributed $2.00 to this purchase. David quickly became a child prodigy. Almost immediately he was site reading music. By age 12, he was in his first band, Hot Ice. Everyone else in the band was 17. During this time, David only wanted to play popular music so he refused to play classical music. It wasn't until he, "got serious" and started playing the classics that he began to become the accomplished, world renowned musician that he is today. David received his Bachelor's Degree from the prestigious Berklee College of Music in Boston. He was a triple major in piano performance, electronic music, and audio recording. -
Doug Stegmeyer
DOUG STEGMEYER Growing up in an especially talented musical family, it can be tough to find your own voice. Certainly when your father is one of the most prolific musical arrangers of his time, and your mother is a contemporary singer and piano player. This was the household that a young Doug Stegmeyer grew up in. It’s also one of the reasons why Doug was so successful and went on to play with many of the biggest acts of the last forty years. Douglas Alan Stegmeyer was born on a cold December day in 1951, in Flushing New York. The son of Bill and Margaret Stegmeyer, Doug was immediately surrounded by music. His mother, Margaret, “Peg,” was, and still is an accomplished piano player and singer. His dad, Bill, was a musical arranger for many of the biggest jazz acts of that time, in addition to being an accomplished clarinet, saxophone and piano player. Now having moved his family to Syosset, NY, Bill arranged music for Glenn Miller and Jackie Gleason, as well as performing with Billie Holiday and Billy Butterfield just to name a few. Doug, his brother Al and sister, Sue lived with a constant influx of new types of music. Then, one day Doug heard the Beatles… Doug began playing bass at the age of fourteen, and played gigs with his friends in high school. As his teens progressed Doug would play as many gigs as he could, playing in bars and at weddings with his good buddy Russell Javors. He attended art school after graduating from Syosset High School, but he knew that music would be his career. -
Little River Band with Special Guest Lords of 52Nd Street Return to the Florida Theatre on March 6, 2021
Little River Band with special guest Lords of 52nd Street Return to the Florida Theatre on March 6, 2021 Jacksonville, Fla. (May 18, 2020) – The Florida Theatre is pleased to announce the return of classic rock hit-makers Little River Band with special guest Lords of 52nd Street to the Theatre on Saturday, March 6, 2021. Florida Theatre members at the Ensemble Level and above can order tickets today. Members of the Florida Theatre E-Club can use their code word to order tickets on Thursday, May 21, 2021 at 9 a.m. Tickets for Little River Band with special guest Lords of 52nd Street will go on sale to the public this Friday, May 22 at 10 a.m. Founding member of The Eagles, the late Glenn Frey, dubbed Little River Band “the best singing band in the world.” Through the 1970s and 1980s, Little River Band enjoyed huge chart success with multiplatinum albums and chart topping hits such as “Reminiscing,” “Cool Change,” “Lonesome Loser,” “The Night Owls,” “Take It Easy on Me,” “Help Is on Its Way,” “Happy Anniversary,” “We Two,” “Man On Your Mind,” “The Other Guy,” and “It’s a Long Way There.” Little River Band made their American radio debut on WAIV in Jacksonville in 1976. WAIV programmer Bill Bartlett, who was a huge fan of Australian rock and roll, was the first to play their now-classic song “It’s A Long Way There” on American radio. Little River Band’s worldwide album, CD sales and digital downloads now top 35 million, and they were the first band to have Top 10 hits for six consecutive years. -
The Other Sides of Billy Joel: Six Case Studies Revealing the Sociologist, the Balladeer, and the Historian
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-25-2011 12:00 AM The Other Sides of Billy Joel: Six Case Studies Revealing the Sociologist, the Balladeer, and the Historian A. Morgan Jones The University of Western Ontario Supervisor Dr. James Grier The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © A. Morgan Jones 2011 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Jones, A. Morgan, "The Other Sides of Billy Joel: Six Case Studies Revealing the Sociologist, the Balladeer, and the Historian" (2011). Electronic Thesis and Dissertation Repository. 300. https://ir.lib.uwo.ca/etd/300 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE OTHER SIDES OF BILLY JOEL: SIX CASE STUDIES REVEALING THE SOCIOLOGIST, THE BALLADEER, AND THE HISTORIAN (Spine title: The Other Sides of Billy Joel: Six Case Studies) (Thesis format: Monograph) by A. Morgan Jones Graduate Program in Musicology A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © A. Morgan Jones 2011 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr.