JB Music Products

Total Page:16

File Type:pdf, Size:1020Kb

JB Music Products Music List Title Composer As Recorded By: Album Source 01 “This Is For Albert” Wayne Shorter Art Blakey “Caravan” 02 “Barbara” Horace Silver Horace Silver “Silver And Brass” 03 “Gregory Is Here” Horace Silver Horace Silver “In Persuit Of The 27th Man” 04 “Passport” Charlie Parker Eddie Daniels “To Bird, With Love” 05 “First Light” Freddie Hubbard Freddie Hubbard “First Light” 06 “Joy Spring” Clifford Brown Clifford Brown “Clifford Brown & Max Roach” 07 “Viable Blues” Tom Harrell Tom Harrell “Stories” 08 “Moanin’ ” Bobby Timmons Art Blakey “Moanin’ ” 09 “The Theme” Miles Davis Art Blakey “Straight Ahead” 10 “Blues March” Benny Golson Art Blakey “Moanin’ ” 11 “Chick’s Tune” Chick Corea Blue Mitchell “The Thing To Do” 12 “Cheryl” Charlie Parker Art Blakey 13 “Little Dancer” Tom Harrell John McNeil “Look To The Sky” 14 “Viva Amour” Horace Silver Horace Silver “Pencil Packin’ Papa” 15 “Nutville” Horace Silver Horace Silver “Cape Verdean Blues” 16 “Nica’s Dream” Horace Silver Art Blakey “Art Blakey And The Jazz Messengers” 17 “Tidal Breeze” Harold Danko Harold Danko “Coincidence” 18 “Close Encounter” Franco Ambrosetti Franco Ambrosetti “Close Encounter” 19 “Skylark” Hoagy Carmichael Art Blakey “Caravan” 20 “Fried Bananas” Dexter Gordon Dexter Gordon “Homecoming” 21 “The Eternal Triangle” Sonny Stitt Freddie Hubbard “The Eternal Triangle” 22 “Most Like Lee” Lee Morgan Lee Morgan “Cornbread” 23 “Hammerhead” Wayne Shorter Art Blakey “Free For All” 24 “Blue Train” John Coltrane John Coltrane “Blue Train” 25 “Fungii Mama” Blue Mitchell Blue Mitchell “The Thing To Do” 26 “No Time Like The Present” Jeff Bunnell 27 “Split Kick” Horace Silver Art Blakey “A Night At Birdland, vol. 1” 28 “Peace” Horace Silver Horace Silver “Blowin’ The Blues Away” 29 “Pensativa” Clare Fischer Art Blakey “Free For All” 30 “Moments Notice” John Coltrane John Coltrane “Blue Train” 31 “Giant Steps” John Coltrane John Coltrane “Giant Steps” 32 “Witch Hunt” Wayne Shorter Wayne Shorter “Speak No Evil” 33 “Speak No Evil” Wayne Shorter Wayne Shorter “Speak No Evil” 34 “Misbegotten” Walt Weiskopf Walt Weiskopf “Simplicity” 35 “Recorda - Me” Joe Henderson Joe Henderson “Page One” 36 “Along Came Betty” Benny Golson Art Blakey “Moanin’ ” 37 “Mr. Christlieb, I Presume?” Jeff Bunnell 38 “Basically Basie” Jeff Bunnell 39 “Lazy Bird” John Coltrane John Coltrane “Blue Trane” 40 “Marie Antoinette” Wayne Shorter Freddie Hubbard “Ready For Freddie” 41 “Maiden Voyage” Herbie Hancock Herbie Hancock “Maiden Voyage” 42 “Erin’s Waltz” Jeff Bunnell 43 “Birdlike” Freddie Hubbard Freddie Hubbard “Ready For Freddie” 44 “Ugetsu” Cedar Walton Art Blakey “Live At Birdland” 45 “After The Storm” Jeff Bunnell Page 1 Title Composer As Recorded By: Album Source 46 “[This Space For Rent]” Jeff Bunnell 47 “Crisis” Freddie Hubbard Art Blakey “Mosaic” 48 “One By One” Wayne Shorter Art Blakey “Live At Birdland” 49 “Webb City” Bud Powell Art Blakey “Straight Ahead” 50 “All Blues” Miles Davis Art Blakey 50-A “All Blues” Miles Davis Miles Davis “Kind of Blue” 51 “Children Of The Night” Wayne Shorter Art Blakey “Mosaic” 52 “Falling In Love With Love” Rodgers / Hart Art Blakey “Straight Ahead” 53 “Sponge” Randy Brecker Brecker Brothers “Heavy Metal Bebop” 54 “Slick Stuff” Randy Brecker Brecker Brothers “Back To Back” 55 “Bolivia” Cedar Walton Cedar Walton “Eastern Rebellion” 56 “Strollin’” Horace Silver Horace Silver “Horace-Scope” 57 “Step Lightly” Joe Henderson Blue Mitchell “The Thing To Do” 58 “Wild Flower” Wayne Shorter Wayne Shorter “Speak No Evil” 59 “Free For All” Wayne Shorter Art Blakey “Free For All” 60 “Speak Low” Kurt Weill 61 “Finding Good Rules To Live By” Horace Silver Horace Silver 62 “Edda” Wayne Shorter Lee Morgan “The Rumproller” 63 “Jinrikisha” Joe Henderson Joe Henderson “Page One” 64 “Mo’ Joe” Joe Henderson Horace Silver “Cape Verdean Blues” 65 “Out Of The Night” Joe Henderson Joe Henderson “Page One” 66 “Early Flight” John McNeil John McNeil “Clean Sweep” 67 “Homestretch” Joe Henderson Joe Henderson “Page One” 68 “Freight Trane” Tommy Flanagan Jack Wilkins “You Can’t Live Without It” 69 “Out Of The Night (Came You)” Horace Silver Horace Silver “Silver And Voices” 70 “Picadilly Lilly” Dave Liebman Dave Liebman “Pendulum” 71 “Body And Soul” Green / Sour John Coltrane “Coltrane’s Sound” 71-A “Body And Soul” Green / Sour Dexter Gordon “Manhattan Symphony” 72 “Love Letters” Victor Young Gordon Brisker “Cornerstone” 73 “The Kicker” Joe Henderson Horace Silver “Song For My Father” 74 “Chasin’ The Bird” Charlie Parker Charlie Parker “The Complete Savoy Studio Sessions” 75 “Unit 7” Sam Jones John McNeil “Look To The Sky” 76 “Short Story” Kenny Dorham Joe Henderson “In ‘N’ Out” 77 “Mr. Jin” Wayne Shorter Art Blakey “Indestructible” 78 “Something Old, Something Blue” Mark Levine Mark Levine “Up Till Now” 79 “Relaxin’ ” Frank Strazzeri Don Menza “Horn Of Plenty” 80 “Arabia” Curtis Fuller Art Blakey “Mosaic” 81 “Metamorphosis” Horace Silver Horace Silver “The Stylings Of Silver” 82 “Sleepin’ Bee” Arlen / Capote 83 “Dancing On The Ceiling” Rodgers/Hart Dick Berk “Lover” 84 “Mamacita” Joe Henderson Joe Henderson “The Kicker” Page 2.
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • The Eastern Front and the Struggle Against Marginalization
    3 The Eastern Front and the Struggle against Marginalization By John Young Copyright The Small Arms Survey Published in Switzerland by the Small Arms Survey The Small Arms Survey is an independent research project located at the Graduate Institute of International Studies in Geneva, Switzerland. It serves © Small Arms Survey, Graduate Institute of International Studies, Geneva 2007 as the principal source of public information on all aspects of small arms and First published in May 2007 as a resource centre for governments, policy-makers, researchers, and activ- ists. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior Established in 1999, the project is supported by the Swiss Federal Depart- permission in writing of the Small Arms Survey, or as expressly permitted by ment of Foreign Affairs, and by contributions from the Governments of Bel- law, or under terms agreed with the appropriate reprographics rights organi- gium, Canada, Finland, France, the Netherlands, Norway, Sweden, and the zation. Enquiries concerning reproduction outside the scope of the above should United Kingdom. The Survey is also grateful for past and current project-spe- be sent to the Publications Manager, Small Arms Survey, at the address below. cific support received from Australia, Denmark, and New Zealand. Further Small Arms Survey funding has been provided by the United Nations Development Programme, Graduate Institute of International Studies the United Nations Institute for Disarmament Research, the Geneva 47 Avenue Blanc, 1202 Geneva, Switzerland International Academic Network, and the Geneva International Centre for Humanitarian Demining.
    [Show full text]
  • UT Jazz Jury Repertoire – 5/2/06 Afternoon in Paris 43 a Foggy Day
    UT Jazz Jury Repertoire – 5/2/06 Level 1 Tunes JA Level 2 Tunes JA Level 3 Tunes JA Level 4 Tunes JA Afternoon in Paris 43 A Foggy Day 25 Alone Together 41 Airegin 8 All Blues 50 A Night in Tunisia 43 Anthropology (Thrivin’ from a Riff) 6 Along Came Betty 14 A Time for Love 40 Afro Blue 64 Blue in Green 50 Beyond All Limits 9 Autumn Leaves 54 All the Things You Are 43 Body and Soul 41 Blood Count 66 Blue Bossa 54 Angel Eyes 23 Ceora 106 Bolivia 35 But Beautiful 23 Bird Blues (Blues 4 Alice) 2 Chelsea Bridge 66 Brite Piece 19 C Jam Blues 48 Bluesette 43 Children of the Night 33 Cherokee 15 Cantaloupe Island (96) 54 But Not for Me 65 Come Rain or Come Shine 25 Clockwise 35 Cantaloupe Island (132) 11 Cottontail 48 Confirmation 6 Countdown 28 Days of Wine and Roses 40 Don’t Get Around Much Anymore48 Corcovado-Quiet Nights 98 Dolphin Dance 11 Doxy (134) 54 Easy Living 52 Desafinado (184) 74 E.S.P. 33 Doxy (92) 8 Everything Happens to Me 23 Desafinado (136) 98 Giant Steps 28 Freddie the Freeloader 50 Footprints 33 Donna Lee 6 I'll Remember April 43 For Heaven’s Sake 89 Four 7 Embraceable You 51 Infant Eyes 33 Georgia 49 Groovin’ High 43 Estate 94 Inner Urge 108 Honeysuckle Rose 71 Have You Met Miss Jones 25 Fee Fi Fo Fum 33 It’s You or No One 61 I Got It Bad 48 Here’s That Rainy Day 23 Goodbye 94 Joshua 50 Impressions (112) 54 How Insensitive 98 I Can’t Get Started 25 Katrina Ballerina 9 Impressions (224) 28 I Didn’t Know About You 48 I Mean You 56 Lament for Booker 60 Killer Joe 70 I Hear a Rhapsody 80 In Case You Haven’t Heard 9 Love for
    [Show full text]
  • Victory and Sorrow: the Music & Life of Booker Little
    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
    [Show full text]
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • The Aftermath of the Porn Rock Wars
    Loyola of Los Angeles Entertainment Law Review Volume 7 Number 2 Article 1 3-1-1987 Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars Jonathan Michael Roldan Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Jonathan Michael Roldan, Radio-Active Fallout and an Uneasy Truce - The Aftermath of the Porn Rock Wars, 7 Loy. L.A. Ent. L. Rev. 217 (1987). Available at: https://digitalcommons.lmu.edu/elr/vol7/iss2/1 This Article is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. RADIO-ACTIVE FALLOUT AND AN UNEASY TRUCE-THE AFTERMATH OF THE PORN ROCK WARS Jonathan Michael Roldan * "Temperatures rise inside my sugar walls." - Sheena Easton from the song "Sugar Walls."' "Tight action, rear traction so hot you blow me away... I want a piece of your action." - M6tley Criie from the album Shout at the Devil.2 "I'm a fairly with-it person, but this stuff is curling my hair." - Tipper Gore, parent.3 "Fundamentalist frogwash." - Frank Zappa, musician.4 I. OVERTURE TO CONFLICT It began as an innocent listening of Prince's award-winning album, "Purple Rain,"5 and climaxed with heated testimony before the Senate Committee on Commerce in September 1985.6 In the interim the phrase "cleaning up the air" took on new dimensions as one group of parents * B.A., Journalism/Political Science, Cal.
    [Show full text]
  • BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
    BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Clint Fisher and His Musical Buddies
    EDITOR: Amelia Martin ASSOCIATE EDITOR: Sarah Fitzjarrald CONSULTING EDITOR: CONTENTS Carolyn Pollan GUEST WRITER: VOL VIII, NO. 1 APRIL, 1984 Doc Miller PROOF READERS: Letter From Editors 2 Pam Pearce Alphonso Trent, One of the Best 3 Dr. Larry Pearce Mary Nell Euper Hammer's Bands 7 Rosalie Platt Amrita Grotto Band 9 Col. C.B. "Pat" Porter Jimmie Grace and His Ozarkians 10 PHOTOGRAPHIC STAFF David King The Southerners, Edgar A. Robinson, Director 12 INDEXING Doc Miller's Orchestras 14 Floy Looper Clint Fisher and His Musical Buddies 16 OFFICE STAFF Del Conger Fred Rose 18 Felix Thomson Wayne Redden and His Arkansas Valley Boys 19 Thelma Black Velma Barber Froebel E. Lee 19 Frank Jedlicka Heart Throbs 20 BOARD AND OFFICERS: Paul Lewis 20 Amelia Martin, Pres. Chris Allen, V.P. Calvin Carter and the Border City Ramblers, Mary Nell Euper, Sec. Rhonda "Kye'Tleming 21 Donald Peer, Treas. Floy Looper, Corres. Sec. News & Opportunities 22 Wayne Bledsoe Book Notes: Fort Smith, Siloam Shorts, Del Conger Fire In The Hole 25 Gilmer Dixon Sarah Fitzjarrald Marriage Book B, Fort Smith District, Mary Lou Jacobsen Sebastian County, Arkansas 26 Rosalie Platt Col. C.B. (Pat) Porter Corrections, Marriage Book A 32 Felix Thomson Contents, Past Issues 34 Thelma Wray 1884 Newspapers Excerpts 35 Membership in the Fort Smith Historical Index 49 Society includes subscription to The Journal of the Fort Smith Historical Society, which is published semi-annually. Year begins Jan. 1 COVER: Some of Fort Smith's "Big Band Era" Bands and Orchestras and ends Dec. 31. «Copyright 1984 ISSN 0736 4261 For membership, send dues with your name By the Fort Smith Historical Society, Inc.
    [Show full text]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 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.
    [Show full text]
  • Canadian Pacific Railway
    THE BULLETIN December 2017 VOL. 10 No. 8 www.aargcc.org 0 TABLE OF CONTENTS Publications Committee Members ............................................................................. 3 New Agents Committee Members .............................................................................. 4 General Claims Conference Officers ......................................................................... 5 IICA Administrative Committee Members ............................................................... 6 General Claims Conference Committee Chairs ........................................................ 7 Past Chairpersons ........................................................................................................ 8 Incoming Chairpersons Report .................................................................................. 9 Don Lord Writing Competition Winners (2017) ....................................................... 10 Personalities: Jeff Beck – Union Pacific Railroad ................................................... 12 Keeping Track: John Krcmar – Canadian Pacific Railway .................................... 13 Meet Some of Our Newest Members .......................................................................... 14 Members Moving Up (Promotions) ............................................................................ 18 Members Moving On (Retirements) .......................................................................... 19 General Claims Conference Meeting Announcement (Oct 2018) ..........................
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1992
    Kattl hlCL^WOOD I ? 7 2 W Toofc ofExcellence In every discipline, outstanding performance springs from the combination of skill, - vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics -> Jazz At Tanglewood WM Friday, Saturday, and Sunday August 28, 29, and 30, 1992 Tanglewood, Lenox, Massachusetts '-•' Friday, August 28, at 7:30 p.m. THE MODERN JAZZ QUARTET RAY CHARLES Koussevitzky Music Shed Saturday, August 29 at 4 :30 p.m. CHRISTOPHER HOLLYDAY QUARTET REBECCA PARRIS and the GEORGE MASTERHAZY QUARTET Theatre-Concert Hall at 7:30 p.m. MAUREEN McGOVERN and MEL TORME with the HERB POMEROY BIG BAND Koussevitzky Music Shed Sunday, August 30 at 4 :30 p.m. GARY BURTON AND EDDIE DANIELS Theatre-Concert Hall at 7:30 p.m. DAVE BRUBECK QUARTET WYNTON MARSALIS Koussevitzky Music Shed ARTISTS The Modern Jazz Quartet Gibbs in the Woody Herman Second Herd. The following year he rejoined the Gillespie band, eventually becoming a founding member of the Modern Jazz Quartet. Among the many compositions Mr. Jackson contributed to the group, "Bags' Groove" has become a classic. During the members' annual vacation from the MJQ, Milt Jack- son assembles various groups of musicians to record albums under his own name and to play occasional engagements. Recently he returned to his bebop roots for an album aptly entitled Be Bop. Bass player Percy Heath was born in Making a return Tanglewood appearance, Wilmington, North Carolina, and grew up the Modern Jazz Quartet has a unique in Philadelphia.
    [Show full text]