DOCSLIB.ORG

Notre Dame Collegiate Jazz Festival Program, 1987

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notre Dame Collegiate Jazz Festival Program, 1987 Archives of the University of Notre Dame Archives of the University of Notre Dame 'i1 1WEN1Y-NINTH ANNUAL COLLEGIATE JAZZ FESTIVAL Chairman Kevin Cronin Producer David Thornton Applications Director Kathryn Kager Assistant Paul Bonadies Advertising Director Paul Giorgianni Publicity Director Paul Giorglannl Production Crew Manager Mary Marchal Stage Manager Matt Snyder Faculty Advisor Fr. George Wiskirchen, C.S.C. Cultural Arts Advisor Ceil Paulsen Cover/T-Shirt Design Mark Weimholt Printer Harmony Press, Inc., Bourbon, IN - Portions of CJF '87 will be broadcast live on WSND, 88.9FM • Sponsored by the Notre Dame Student Activities Board Cultural Arts Commission 1 Archives of the University of Notre Dame ~ NASSER & SONS HOME OF WORLD FAMOUS GRAND PIANOS AlJ o UNIVERSITY FOOD SERVICES - NOTRE DAME ~~~ your Complele 7J. 71. Jfearkruarlers AND ~t) COCA-COLA BOTTLING COMPANY OF SOUTH BEND .'/ JOIN TOGETHER TO SUPPORT THE FINEST STUDENT PROGRAM IN THE COUNTRY PROVIDING THE LIGHTING THE 29th ANNUAL COLLEGIATE AND P.A. SYSTEMS FOR Over 75 In Stock: CJF '87 JAZZ FESTIVAL - STEINWAY - BALDWIN ­ - KAWAI - YOUNG CHANG ­ Congratulations on Producing this Program 282 Dunes Plaza of Excellence for Our Community Michigan Cicy, IN 46360 Ken Reinecke 0-1640 Lake Michigan Dr., N.W. 879-4474 616/677-5228 Grand Rapids, Michigan 49504 While attending this outstanding program, stop at our refreshment cafe and enjoy ... Sandwich Counter Ice Cream Counter Mini Castle Burger Cups c AIG RIOT All-Beef Hot Dog Cones Philly Steak Sandwich Sundaes PA o I G & R PAl Snacks Beverage Fountain Popcorn Coke and Diet Coke Nachos Root Beer and Sprite Pretzels Coffee "The Musician's Choice" Pizza by the Slice Strawberry Slush ***** Serving All Makes ***** ***** Full Time Since 1978 ***** SPECIALIZING IN: CONCERT & PERFORMANCE TUNING • IN HOME TUNING & REPAIR ANTIQUE & USED PIANO REPAIRS • APPRAISALS "Quality Service at Reasonable Rates;' Call 8 AM - 9 PM "Please Leave Message" P. 0 ... Box 44 (219) 255-9810 Osceola, IN 46561-0044 Mr. Ridout will be tuning the piano used for CJF '87. • 2 3 Archives of the University of Notre Dame and Ron Bridgewater. Randy and and ended only on Sunday morning versltles around the country, ofcourse. Michael Brecker, Gene Bertoncinl, Joe when. sleepless, I drove Malachi Favors But. more. Its a tribute to the meaning Farrell. Stanley Cowell, Bob James, Paul and his bass to the South ShoreStation. behind the CJF - the promotion of Looking Back: Winter, Al Jarreau. Oscar Brashear, We had the times wrong. and he had to America's sole claim to musical art. And David Sanborn, Jim McNeely, Peter Ers­ wait an hour for the train. I offered to CJF does It with class: no hype, no com­ kine, and Chico Freeman, to name but a take him somewhere for coffee, but he mercialism. just a sincere dedication to few. Also on that list would be Pat Said. 'No, that's cool. rn just practice a providing that special moment when A BriefHistoIY oftile CJF Metheny Group bassist Steve Rodby, bit,' I left him In the deserted waiting musician and idea and Instrument and and the Founding Fathers of Chicago room qUietly playing. It was great," sound and audience are one. That spe­ (James Pankow) and Earth Wind and There Is no question that the judges cial moment called jazz," Fire (Maurice White. Don Myrick, and add a special dimension to the CJF. The CJF '87 staff, and many more to Louis Satterfield). making It unique among festivals and a come, we hope. will continue to provide After nearly three full decades ofexist­ slon station WGN music director Robert bookings. Judge Stan Kenton referred While these and other college per­ real treat to attend. However. what really that "speCial moment". Our hope Is kept ence, it continues: the oldest. longest­ TrendIer, and popularjazz accordionist to that second CJFas "the most magn1f­ formers are the primary focus of CJF, makes this Festival speCial Is the wealth alive through the same dedication and running, most prestigious college jazz Art Van Damme. The first place award, icent. clean-cut, swlngin' affair I've ever another aspect of the Festival that has ofcollegiate talent. "One of the most sig­ commitment which have brought us festival in the country. This year, fifteen $200 cash and a 3-week Blue Note attended," In just two short years. CJF continued to gain prominence Is the nificant observations I made at the this far. We cannot merely continue. of the country's best collegiate groups. engagement. went to theUntversltyJazz had gained the reputation It still carries Judges' Jam. The 60's saw the advent of twentieth Collegiate Jazz Festival:' though: we have not been successful for from nine states, will gather In Stepan Workshop Quartet of the Untverslty of today: a forum presenting the best in judge/student jams, which spotlighted wrote Observer reporter Frank laurino twenty-nine years by being satisfied Center for the twenty-ninth annual Minnesota. college jazz. top Festival solOiSts on stage with the l'n 1978, "was the Incredible amount of with past accomplishments. By always Notre Dame Collegiate Jazz Festival. From these humble beginnings, the That reputation continued to grow. It musician judges In attendance. That talent on stage. This Is a tribute to the attempting to make CJF better. we wUl Whlle all of us on this year's committee CJF grew at an astonishing rate. which kept growing as CJF developed Its own led, In 1977, to a group ofjudgesselected many fine jazz programs at major unl­ further Its past tradition of greatness, can only hope that the Festival wlllllve was exactly what Its originators had logo In 1963 (recently updated In 1984). not only to critique. but specifically to up to Its own legacy over the next dreamed of. The prologue ofthe first CJF It kept on growing as CJF moved out of perform well together In a Friday night twenty-nine years, we cannot help but to program began with the follOwing state­ the Old Fieldhouse and Into Stepan jam session. It Is a great thrill to I1sten to look back over those past with a lot of ment: "From an embryonic Idea has Center for the '67 Festival. 1967also saw five profeSSionals. some of whom have pride and a bit ofawe at what ourefforts grown what mayweU become. within the the Introduction ofthe High School Fes­ never met. get together on stage and are perpetuating. span ofa few shortyears, the ultimate In tival, which would be held for eighteen of blend so well. TheJam often turnsout to Exactly twenty-eight years ago, on collegiate jazz competition." In fact. the the next nineteen CJFs (It was dropped be the highlight of the weekend - not April 11. 1959, the Midwest Collegiate first CJF met with such acclaim that the for one year In 1980. temporarily only for the audience. but for thejudges Jazz Festival gave birth to one of the second annual Collegiate Jazz Festival revived, and then scrapped In 1986 for as well. Just three years ago, the judges greatest traditions In the jazz world. had no trouble at all In lining up bands budgetary reasons). And as CJFgrew, so enjoyed playing together so mUCh. that Notre Dame senior Tom Cahill had orjudges. CJF '60 expanded to two days. did the accompllshments ofltspast par­ after the awards were decided and an­ searched for a way to relieve the dol­ and attracted not fifteen, but twenty-six ticipants - not the judges, but those nounced on Saturday night. they took drums of a South Bend winter: some­ bands and combos. The prizes included who had been there as student per­ the stage again for an unheard-of thing big, but at the same time not oruy cash, but trophies. instru­ formers. A llst of Festival alumni com­ second Jam. Theseveral hundred people down-to-earth and entertaining; "some­ ments, scholarships. and Blue Note piled today would Include Cecll, Dee Dee. remaining in Stepan Centerwere treated thing collegiate for collegians" ... music, to a show as spectacular as that of the he reallzed,just might be the key. Cahill night before, and listened and cheered spoke of his Idea to Bill Graham, who as the judges Improvised energetically eventually became chairman of that until theearly hoursofSunday morning. first CJF. Their original concept of the Those of us on the CJF staff find It Festival was a showcase for Notre Dame very easy to get motivated and excited talent only. But their thinking soon about the event. We find that there Is a broadened to Include all collegiate musi­ lot given up (most notably sleep and stu­ cians from across the Midwest In a dies), but a lot to be gained. Some of the "Newport-llke" setting. memories provided by CJF will last a To make their Idea a reality, they llfetlme, as onewould expectofanything sought the assistance ofCharles Suber, which generates such Intense Involve­ then publisher of down beat magazine. ment - memories ofthe quiet moments and Frank Hol:z;fiend. owner of the Blue as well as the hectic ones. Damian Note Jazz Room, the premier downtown Leader. Chairman of CJF '76, relates ChIcagojazz spot. They procured a small some of his memories In a paragraph budget from the Student Government which may well sum up what the Notre (Bill Graham also happened to be the Dame Collegiate Jazz Festival Is all student body vice-president), and per­ about: mission to hold the one-dayevent In the "What I really remember of the Festi­ Old Fieldhouse (even more ofan acousti­ vals probably never changes: the hectic cal nightmare than Stepan Center). days. the late nights. the craziness. the That historic beginning saw fifteen people.
Load more

Recommended publications
  • Joe Louis Walker
    Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band.
    [Show full text]
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • Notre Dame Collegiate Jazz Festival Program, 1966
    Archives of the University of Notre Dame Archives of the University of Notre Dame ~ ISND COLLEGIATE AM FM JAZZ 640 k. c. 88.9 m. c. Nocturne Mainstream .. FESTIVAL The Sound of Music, in this case ... Jazz, at Notre Dame MARCH L1.J~NC:>C~:E='~ Westinghouse Broadcasting 25 f 26 ORDER YOUR CJF RECORDS FROM: UNIVERSITY OF NOTRE Official Recordists for Mid-West Band Clinics DAME and many State and District Contests .. and Festivals ... JUDOES Don DeMicheal 11359 S. Lothair Ave. ,Chicago 43, illinois Quincy Jones Robert Share Phone: BEverly 3-4717 (Area Code 312) Charles Suber Billy Taylor .1 Archives of the University of Notre Dame Oft.Thought Whims & Fancies call, the shout, for that sudden, exciting, always recognizable cry: "HEY, LISTEN TO ME. I'VE Ere Judgement is Wrought GOT IT!". And for that moment he does ha~e it; and, for as many moments as his insides can sus­ WELCOME by Charles Suber, Mother Judge tain him, he has it. And he has me, Attention is The amenities have been satisfied. Coffee is happily given. I want to listen, pay heed and my sen'ed - it is still warm (and over-sweet). My respects. Judge looks to judge with smiles of TO pipe is lighted - more pleasurable for it's illegal shared appraisal. Not that it is time for points or comfort. The real judges (to my right) have been prizes. Just the acknowledgement that this young fed, provided with programs, adjudication sheets, musician is saying something important - here newly-pointed pencils (with erasers), and music and now.
    [Show full text]
  • Jazz Workshop Dana Hall, Director Jazz Orchestra Thomas Matta, Director Jazz Ensemble Bob Lark, Director Program Jazz Workshop Dana Hall, Director
    Thursday, May 25, 2017 • 8:00 P.M. Jazz Workshop Dana Hall, director Jazz Orchestra Thomas Matta, director Jazz Ensemble Bob Lark, director DePaul Student Center 2250 North Sheffield Avenue • Chicago Thursday, May 25, 2017 • 8:00 P.M. DePaul Student Center JAZZ WORKSHOP Dana Hall, director JAZZ ORCHESTRA Thomas Matta, director JAZZ ENSEMBLE Bob Lark, director PROGRAM JAZZ WORKSHOP Dana Hall, director Dan Higgins A New Start Bob Meyer In The Moment Joel Adams Love Song Benjamin Phillips Little Warrior Dan Burke Living in the Existential Vacuum Sammy Galop and Peter DeRose; arr. Alex Blomarz Autumn Serenade Ben Voigt B’s Blues DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM JAZZ ORCHESTRA Thomas Matta, director To be selected from the following: Bill Holman Told You So George and Ira Gershwin; arr. Ted Nash Our Love Is Here To Stay Matt Harris Cabeza De Carne Mike Crotty The Poet Jim McNeely Extra Credit Harry Warren & Al Dubin; arr. Frank Mantooth I Only Have Eyes For You Thelonius Monk; arr. Ryan Adamsons Epistophry JAZZ ENSEMBLE Bob Lark, director Juan Tizol & Duke Ellington; arr. John Wasson Caravan Bob Lark; arr. Chris Madsen Rum Point Phil Woods Randi Thomas Matta Another Shuffle DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM Richard Rodgers & Lorenz Hart; arr. Thomas Matta It Never Entered My Mind Joseph Clark Blaze Sammy Mysels, Nelson Cogane & Dick Robertson; arr. Joseph Clark Yesterday’s Gardenias DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 BIOGRAPHIES Drummer, composer, ethnomusicologist, and bandleader Dana Hall has been an important musician on the international music scene since 1992, after leaving aerospace engineering for a life in music.
    [Show full text]
  • 2000 Terrapin Invitational Tournament - Division 1 Round 9 Questions by John Nam
    2000 Terrapin Invitational Tournament - Division 1 Round 9 Questions by John Nam Tossups 1. It tells of life at 27 rue de Fleurus, which became a hub of artistic discussion in the early 1900s. Featuring real-life encounters of its author and its narrator with artists from Picasso to Hemingway, this 1932 work was its author's first critical and commercial success. FTP, name this work, which despite its title mainly concerns the life story of its author, Gertrude Stein. Ans: The Autobiography ofAlice B. Toklas 2. First formed in August 1965, their original lineup included Bob Harvey and Jerry Pelonquin, who were soon initially replaced by Alexander Skip Spence and Signe Anderson, then by Spencer Dryden and Jack Casady. Their debut album was moderately successful, a former member of Great Society joined in 1966 and the subsequent release of Surrealistic Pillow that they took off. FTP, name this seminal band whose most famous members were Jorma Kaukonen, Marty Balin, Paul Kantner and Grace Slick. Ans: Jefferson Airplane 3. While studying for the bar in New Salem, Illinois, he began courting the fiancee of John McNamar, who had gone to get his parents in New York. McNamar's fiancee agreed to marry him ifshe could get an "honorable release" from her engagement, but got milk fever and died before McNamar's return in the fall of 1835. Such is the tale of the first love of this man for Ann Rutledge, mildly ironic considering his future reputation for honesty. FTP, name this assassination victim and u.S. statesman. Ans: Abraham Lincoln 4.
    [Show full text]
  • With Honors at Ceremony Mrs
    M'lark College hP VOL. XXXVH NO. 5 ANTHER®CLARK COLLEGE FEBRUARY 1974 Henderson 'Roasted' With Honors At Ceremony Mrs. Vivian Henderson, individual,” Brantley said. gretted it and sometimes the president’s wife, was “He is a man deeply and I’ve been thankful.” present for the ceremony profoundly interested in the There was a surprise vi­ also. individual, ’ ’ Brantley said. sit by Henderson’s eldest Dr. Albert Manley, presi­ brother, J. J. Henderson, “1 thought the program dent of Spelman College, was who reminisced over some was nice and very well also on hand for the cere­ of their past experiences. done,” Mrs. Henderson said. monies. There was also a letter of “He looks like the big tough “Dr. Henderson has al­ congratulations from Mayor guy, but he’s really a sof­ ways excelled in what he Maynard Jackson presented ty,” she said speaking on tried to do,” Manly said. by the mayor’s press secre­ Henderson’s tears at theend Manly was Dean of Aca­ tary, Pearl Lomax. of the p^ogr0*’* demic Affairs at North Caro­ After the “roast,” Hen­ “I tnink for the first time lina College when Hender­ derson was presented with the student body is aware son was a student there. a gift and two plaques. of the many qualities of the “Vivian was not the ea­ Henderson was overcome president and there was a siest student to get along by tears as he stood be­ sincere exchange of appre­ with at North Carolina Col­ fore the audience to give him ciation between the student lege,” Manly said.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • 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.
    [Show full text]
  • The Jazz Record
    oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
    [Show full text]
  • Lee Morgan and the Philadelphia Jazz Scene of the 1950S
    A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957.
    [Show full text]
  • Benny Golson (* 25
    JAMU 20150408-2 – Benny Golson (* 25. 1. 1929) 6 Along Came Betty 581030 6:08 9 Blues March 581030 6:13 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Van Gelder Studio, Hackensack, New Jersey, October 30, 1958. LP Blue Note BST 84003 „Moanin’“ / CD Blue Note 7243 4 95324 2 7. 3 I Remember Clifford (1957) (138) 581122 5:36 10 Blues March 581122 5:46 1 Whisper Not (1956) (297) 581122 7:11 Art Blakey and the Jazz Messengers: Lee Morgan-tp; Benny Golson-ts; Bobby Timmons-p; Jymie Merritt-b; Art Blakey-dr. Live at the Olympia, Paris, November 22 / December 17, 1958. LP Fontana 680 202 and EP Fontana 460 642 / CD Gitanes 832 659-2. 4 I Remember Clifford 600206 3:10 11 Blues March 600206 5:17 13 Killer Joe (1959) (628) 600206 4:58 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Curtis Fuller-tb; Benny Golson-ts; McCoy Tyner-p; Addison Farmer-b; Lex Humphries-dr. New York City, February 6, 9 and 10, 1960. LP Argo 664 „Meet the Jazztet“ / CD Mosaic MD7-225. 2 Whisper Not 620302 5:20 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr. New York City, March 2, 1962. LP Mercury SR 60698 „Here and Now“ / CD Mosaic MD7-225. 7 Along Came Betty 620621 5:29 Art Farmer-Benny Golson Jazztet: Art Farmer-tp; Grachan Moncur III-tb; Benny Golson-ts; Harold Mabern-p; Herbie Lewis-b; Roy McCurdy-dr.
    [Show full text]