Notre Dame Collegiate Jazz Festival Program, 1990
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Economics for Real People
Economics for Real People An Introduction to the Austrian School 2nd Edition Economics for Real People An Introduction to the Austrian School 2nd Edition Gene Callahan Copyright 2002, 2004 by Gene Callahan All rights reserved. Written permission must be secured from the publisher to use or reproduce any part of this book, except for brief quotations in critical reviews or articles. Published by the Ludwig von Mises Institute, 518 West Magnolia Avenue, Auburn, Alabama 36832-4528. ISBN: 0-945466-41-2 ACKNOWLEDGMENTS Dedicated to Professor Israel Kirzner, on the occasion of his retirement from economics. My deepest gratitude to my wife, Elen, for her support and forbearance during the many hours it took to complete this book. Special thanks to Lew Rockwell, president of the Ludwig von Mises Institute, for conceiving of this project, and having enough faith in me to put it in my hands. Thanks to Jonathan Erickson of Dr. Dobb’s Journal for per- mission to use my Dr. Dobb’s online op-eds, “Just What Is Superior Technology?” as the basis for Chapter 16, and “Those Damned Bugs!” as the basis for part of Chapter 14. Thanks to Michael Novak of the American Enterprise Insti- tute for permission to use his phrase, “social justice, rightly understood,” as the title for Part 4 of the book. Thanks to Professor Mario Rizzo for kindly inviting me to attend the NYU Colloquium on Market Institutions and Eco- nomic Processes. Thanks to Robert Murphy of Hillsdale College for his fre- quent collaboration, including on two parts of this book, and for many fruitful discussions. -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
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. -
A Conversation with Petra Haden by Frank Goodman (Puremusic.Com, 1/2009)
A Conversation with Petra Haden by Frank Goodman (Puremusic.com, 1/2009) A short while back, we interviewed a fascinating accordionist, music-oriented photographer, and image and scene maker in Portland named Alicia J. Rose, aka Miss Murgatroid. She'd taken very compelling photos of several bands we'd covered (Sophe Lux and Boy Eats Drum Machine come to mind), and then we stumbled on to her signature accordion work, which often involved multiple effects pedals. Her best known CD was one she'd woven with her friend and musical partner Petra Haden. Although you might know Petra as a member of the Decemberists, or as one of Charlie Haden's daughters (the legendary jazz bassist), or the guest soloist in any of many bands (including the recent Foo Fighters tour), she is still and deservedly best known for her a capella version of the entire Sell Out record by The Who. (She later cut a record with Bill Frisell that happens to be rather divine, called simply Petra Haden and Bill Frisell.) But the Petra project that ignited our conversation was Hearts and Daggers, the long awaited and satisfying reunion with Miss Murgatroid. Some sounds are best heard before described, and you'll find the customary links to those audio clips along the way. We're sure you'll find Petra's words interesting, as we certainly did. And thanks to Miss Murgatroid, aka Alicia J. Rose, who led us here. Puremusic: Let's talk first about this recent release with Miss Murgatroid, Hearts and Daggers. We like that a lot. -
Former Saturday Night Live Band Leader G.E. Smith to Rock the Stockton PAC Performance Set for Feb
Former Saturday Night Live Band Leader G.E. Smith to Rock the Stockton PAC Performance Set for Feb. 8 For Immediate Release Wednesday, January 8, 2014 Contact: Suzé DiPietro Stockton PAC Galloway Township, NJ 08205 [email protected] (609) 652-4927 Galloway Township, NJ- One of the most in demand blues/rock guitarists in the world is a mysterious character who goes by the name of G.E. Smith. Millions of TV viewers know his face- and the shock of an unruly blond ponytail that was always falling across it - from his tenure fronting the Saturday Night Live Band. G.E. Smith will rock the house at The Richard Stockton College of New Jersey’s Performing Arts Center on Saturday, Feb. 8, 2014. Show time is 7:30 p.m. Tickets are $32 and may be ordered online at www.stockton.edu/pac or by calling the Box Office at (609) 652-9000. The Box Office is open Monday through Friday from 9 a.m. to 3 p.m. and 90 minutes before the performance. For group sales, call (609) 652-4786. For G.E. (George Edward) Smith, a soulful guitarist, composer, singer, and bandleader, it all began in rural Stroudsburg, PA, where he was just about born with a guitar in his hand. “I started playing around the age of 4, and started getting good at 7,” Smith says. “Eventually, the girlfriend of one of my uncles bought me a Martin, a real good guitar, in 1959.” On his 11th birthday, Smith’s mother bought him his first electric guitar, a Fender Telecaster, a model that to dated his birth year- 1952. -
Guide to the Bill Holman Collection
Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date: -
FOLLOWING the HERD REPERTOIRE TABLE 2017-V3
TITLE COMPOSER/ STYLE ALBUM/ERA INSTRUMENT ARRANGER FEATURE/SOLO ADAM’S BROADBENT MEDIUM BRAND NEW 1971 CLARINET/FLUGEL APPLE SWING TROMBONE AFTER PARISH/PIERCE SLOW BRAND NEW 1971 PIANO HOURS GROOVE AFTER CREAMER/LAYTON/ HOLMAN UP TEMPO WOODY HERMAN 1964 CLARINET/TRUMPET YOU’VE TENOR SAX GONE AJA BECKER/FAGAN / BROADBENT STRAIGHT CHICK,DONALD,WALTER TENOR SAX 8th WOODROW 1978 A KISS HEMAN/SLACK/VICTOR EASY NUMEROUS ALBUMS TRUMPET/CLARINET GOODNIGHT VOCAL SINCE 1945 ALONE AGAIN O’SULLIVAN/ BROADBENT STRAIGHT THE RAVEN SPEAKS TROMBONE/ALTO SAX (NATURALLY) 8th 1974 TENOR SAX AMERICA ZAPPA/BROADBENT FAST THUNDERING HERD FLUGEL/PIANO DRINKS AND GOES HOME SWING 1974 APPLE WOODY HERMAN UP TEMPO NUMEROUS ALBUMS VIBES/’BONE /TENOR SAX/ HONEY SINCE 1944 TRUMPET APRIL DeSYLVA/SILVERS/BURNS EASY JAZZ SWINGER ALBUM FLUGEL HORN SHOWERS VOCAL 1966 AQUARIUS RADA/RAGNI STRAIGHT HEAVY EXPOSURE 1969 SOPRANO SAX EVANS 8th A SONG FOR RUSSELL/STAPLETON STRAIGHT GIANT STEPS PIANO/SOPRANO SAX YOU 8th 1973 FLUGEL AURORA ROLAND BALLAD VARIOUS ALBUMS ALTO/TENOR AUTOBAHN BURNS/HERMAN MEDIUM VARIOUS ALBUMS TENOR/BARITONE BLUES SWING SINCE 1954 TRUMPET BAMBA BYRD/FELLER MEDIUM WOODY HERMAN Vol. 3 GUITAR LATIN/SWING SAMBA BASS FOLK CLARKE/KLATKA FAST 4 THUNDERING HERDS BASS/PIANO/PICCOLO (ROCK-FUNK) SONG 1974 BATTLE ELLINGTON/FEDCHOCK UP-TEMPO GOLD STAR SAXES ROYAL SWING 1987 BEBOP AND BROADBENT FAST GIANT STEPS 1973 TRUMPET/’BONE/TENOR ROSES SWING SAX BEDROOM GEE/PIERCE EASY LIVE AT HARRAH’S CLUB PIANO/TROMBONE EYES SWING 1964 TRUMPET BETTER GET MINGUS/ HAMMER FAST -
Last Apollo Flight Heads for Moon and Seven Seconds of the Countdown
On The Inside Trend to off-campus living ...7 Clarke gets ax from H-man ...page 3 THE OBSERVER serving the notre dame - st. mary's community VOL. V II No. 59 Thursday, December 7, 1972 Third stage prob Last Apollo flight heads for moon and seven seconds of the countdown. The would be the nation’s sixth landing of men by John Noble Wilford term inal countdown sequencer, as the on the Moon and the 11th manned mission (C) 1972 New York Times News Service computer is called, is programmed to stop of the Apollo project. Cernan and Schmitt the launch if it senses any malfunction. A plan to land their lunar module, named r ape Kennedy, Dec. 7- Apollo 17 few minutes after the scheduled lift-off, Challenger, in a narrow valley just beyond ‘'Listed.off toward the moon this morning, which was to have been at 9:53 p.m. a the southeastern rim of the Sea of its fiery exhaust turning night into day, in spokesman for the national aeronautics Serenity. The site is called Taurus-Littrov, a delayed though spectacular beginning of and space administration announced that after the Taurus mountains and the Lit- the nation's last planned lunar mission. the oxygen tank had failed to be trow crater in the area of Apollo 17’s The lift-off came at 12:33 a.m. after a pressurized at the proper time. target. The landing is scheduled for 2:54 delay of more than two hous because of Launch controllers quickly pressurized p.m. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty 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] Classified Advertising Sales Sue Mahal 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, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, 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: Robert 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, -
The Scene Issue 1
i ARI remixthe scene issue 1 NOTHING HAPPENED Artist: Unknown Medium: Mixed Media Location: Brisbane Date: Circa 1980s If you had one word for the Brisbane 80ss art scene what would it be? and if one word isn’t enough then help yourself to some more nothing happened... nothing could be further from the truth time to change the story Brian Doherty If you had one word for the Brisbane 80s art scene what would it be? Please tell me - and if one word isn’t enough then help yourself to some more. I really need your contribution for three ARI Remix publications to help correct the proposition that NOTHING happened. The first publication, to be available online at issuu.com, has a focus on the overall art scene in Brisbane in the 1980s. The second will focus on the Artist Run Spaces and the third will focus on artists. We will be using some content from this facebook site and from the remix.org.au site. You can also submit your ideas and images specifically for the Remix publications at http://www.remix.org.au/pages/ contact-us-01-2/ Just put ‘newsletter’ in the ‘post tag’ field. Hope to hear from you soon!# ariremix “... despite the work that has been done, there remains a general perception that there is not much to either write about or exhibit when it comes to the history of Artist-Run projects in Brisbane...” Peter Anderson Marginal Notes: towards a history of an artist-run scene, Brisbane, the 1980s Eyeline 82, p62 nothing happened.. -