DOCSLIB.ORG

Notre Dame Collegiate Jazz Festival Program, 1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Notre Dame Collegiate Jazz Festival Program, 1990 Archives of the University of Notre Dame Archives of the University of Notre Dame - Table 0 Contents .....--------­ Staff Photo and Special Thanks -4 19880 State Line Road, South Bend, IN 46637 Welcome from the Chairman -5 Looking Back 6-7 "All roads lead Lo M the Woodwind & the Brasswind Niles VISIT US AT Master of Ceremonies 8 Schedule of Events IO Slate LIne Road Friday Evening 12-14 just 2 blocks ~ OUR NEW Nor1h or o Indiana Saturday Afternoon 20-22 NewSup"r 010 Iocallon z Loea/ion ~ !J) Saturday Evening 23-25 ::J SUPER Old Ioc~Uon 3.5 mn•• from Feature Band 26-28 19880 State Une Road 50741 us 33 North tToD Ro.d.Ed @9 South Bend • LOCATION Woodwinds Brasswinds Emerson E.K. Blessing The 199 Colleqiate azz fes ·ual Staff Gemeinhardt Bach Yamaha Getzen Chairman: Kevin A. Keane Program Director: Annie Butkovich Leblanc Yamaha Advertising Directors: P. J. Goodwine Assistants: Mary Kay Gaido Buffet Larry Drum Patti Weed Selmer Applications Director: Mark Rabideau Publicity Director: Julie Paradis Rock 'N Rythm Business Manager: KenCeonzo On Campus Asst: Julie McCarthy Business Assistant: Jamie Spears Off Campus Asst: Jerry Ford Gibson Ticket Manager: Mike DiDonna Metro Land Asst: Kim Bruce Discount String Center Charvel Graphic Coordinator: BrianDoherty Marketing Research: Claudia Limardo Lewis Kramer Designers: Jose P rez Leo Tighe Tricia Brienza Trish Gibbons Meisel B.C. Rich Historian: Mark Rabideau Kerri Owens Nagoya Suzuki Takamine Producer: Jerry Larkin Beth Peterson Assistants: Harrison Keller Stri ngs & Accessories Roland SUB Asst. Controller: Triona Byrne Debbie Broderick Faculty Advisor: Fr. George Wiskirchen, esc Korg Program Coordinator: Gary Koenen Stage Manager: P.J. Goodwine Fostex Printer: ArtHeemer, Percussion Personnel Manager: Janice Albers Flatlander Agency and MORE Hospitality Director: Julie McCarthy Ludwig Pearl REMO No Need to Go Anywhere Else and MORE Call us at 272-8266 Archives of the University of Notre Dame We come from The Chalrperson Thoughts from the Chairman. Welcome It is an honor and a privilege to chair the 32nd annual Collegiate Jazz Festival. If you are here for the first time you are in for a spectacular weekend of jazz. It is a difficult task to try to improve the Festival each year Our two goals are to provide a stage with great Jazz musicians and get as many people as we can to listen. They sound rather simple. However, each year the Jazz Guru sitting in a blues bar somewhere Chicago presents us with new obstacles to overcome. The Guru just sits in front of the crystal ball, creating ways to make our lives hell. By the time the Festival roles around the staff has become a scaled down version of the American Gladiators. [n the hustle and bustle to create the "perfect" Jazz Festival, the staff has dedicated itself to maintaining the highest standards for our performers and audience. It would be easy to fall back in the storied tradition of past CJ Fs and assume that this will be another great Festival. Instead, we set new goals for ourselves in order to maintain the distinguished privilege of being the most prestigious festival in the country. Judges, performers and audiences remind us each year of this distinction. This is not an honor we have put upon ourselves but rather one which we willfu Ily submit to by becoming members of this staff. coLLE?qiqtE? jqZZ fE?ftiVqL 1990 ftqff My predecessors have used thiS space to gain sympathy for the late nights, bad grades, unfinished homework assignments, and stress related illness. However, I can not continue this tradition. I have dutifully delegated my stress related responsibilities to the staff so they could share in the joy and the pain which comes with this position. The staff tops previous records for size and quality Twelve of our staff members will be receiving class credit for their participation in the Festival. In addition, other staff members are Spec"a anks working in areas related to their major. r will not attempt to thank them for their hard work and dedication on this page but rather ask you to congratulate the staff that you see this weekend on a job well done. I would like to thank Julie Paradis, Julie McCarthy, Fr. George Wiskirchen, esc Barb McGawn On October 13, [989, Notre Dame lost a great man and Mark Rabideau, and Shannon Crosby for their encouragement and support Jim Phillips Student Union Board an avid fan of the Collegiate Jazz Festival Mr William J Hickey Tootie Nehmeth Jr. Under the direction of Hickey, University Food Services has I have had the privilege of working with a few mentors as well. First, allow me to introduce to you the CJF rookie from University Bands John Sherman provided outstanding catering to the school and to CJF. His love Wisconsin(l7), Gary Koenen. Gary, the Student Activities Program Coordinator, has never experienced a Festival before. But Art, Art History and Design of jazz stands as one reason the Festival remains at the top of its before we harass him, I want to thank him from keeping all of us within gUidelines of the pocket bible Du Lac. Next, a relative Gary Koenen class. He will be missed by all of us unknown to CJFers is our printer Art Heemer In my three years with the Festival, Art has prOVided moral inspiration and Nancy Johnson Tim Eby support, in addition to the posters and programs, to past chairmen and staff Thanks. Finally, Mr. CJF, Fr George Wiskirchen. Amy Kizer WVPE can't and won't begin to tell you the ways the man has made us crawl into his office on our hands and knees only to slither out Student Activities Office on our bellies crying because of some genetic defect we have. No, no, no. I'm just kidding, we weren't crying. The man will be Jim Catalano 4 missed by all of the graduating CJF staffers. Art Heemer Selmer Clinician Services Flatlander Agency Well enough already from me. Enjoy the weekend, there will not be another March 30 U 31, 1990 like it Angie 3ellanca Cindy Scott Observer Typeshling Sincerely, University Information 5 • J Kevin A Keane .. Archives of the University of Notre Dame to the past .~.~-----.-:. looklnq Back to the past ......~ -----.-:. looklnq Back paJt cjf judqE'! pa/t cjf 1959 Art Van Damme, Frank cliairp..r/o~ Holzfiend, Charles Suber, Robert Wiskirchen, CSC 1979 Nat Adderly, Richard Davis, Buddy 1959 Bill Grahman Trendier 1970 Richard Abrams, Leon DeFranco, Bunky Green, PhiJly Joe jones, [960 Jim Naughton 1960 WilliS Conover, Frank Breeden, joe Farrell, Dan Joe Sample 1961 Dave Sommer Holzfiend, Stan Kenton, Robert Morgenstern, Ernie Wilkins 1980 Herb Ellis, Milt Hinton, Dan 1962 Tom Eiff Share, Charles Suber 1971 Richard Abrams, WilliS Morgenstern, Zoot Sims, Billy Taylor, Tony [963 Charlie Murphy 196[ Bill Evans, Johnny Richards, Conover, Charlie Haden, Dan Williams 1964 Sidney Gage George Russell, Robert Share, Morgenstern, Leon Thomas, Gerald [981 Richard Davis, Joe Filrrell, Mel Lewis, 1965 Daniel Ekkebus Charles Suber Wilson Jim Mcneely, Dan Morgenstern, Mike Vax 1966 Tony Andrea, Tony Rivizzigno 1962 Don DeMichael, Quincy jones, 1972 Jamey Abersold, WilliS 1982 Frank Foster, Charlie Haden, Shelly 1967 Paul Schlaver Henry Mancini, Robert Share, Conover, Aynsley Dunbar, Roberta Manne, Dan Morgenstern, jimmy Owens, [968 john Noel Charles Suber Flack, Hubert Laws, Dan Billy Taylor 1969 Greg Mullen [963 Manny Albam, Leonard Morgenstern, George Russell 1983 Ron Carter, Branford Marsalis, J970 Ann Heinrichs Feather, Terry Gibbs, Robert Share, 1973 Alvin Batiste, joe Farrell, Wynton Marsalis, jim McNeely, Dan 1971 Ann Heinrichs Charles Suber jimmy Giuffre, Roy Haynes, Hubert Morgenstern, Tony Williams 1972 Bob Sybu~ 1964 Julian "Cannonball" Adderly, Laws, Dan Morgenstern, jimmy 1984 Terence Blanchard, Joanne Brackeen, 1973 Bob Sybu~ Gary McFarland, Oliver Nelson, Owens Paquitto D'Rivera, Danny Gottlieb, Dave [974 Ken Lee George Russell, Robert Share, [974 Charlie Haden, Billy Harper, Holland, Dan Mo~enstern [975 Barbara Simonds Charles Suber Roy Haynes, Dan Morgenstern, 1985 Gene Bertoncini, Stanley Cowell, 1976 Damian Leader 1965 Paul Horn, Arif Mardin, Lonnie Liston Smith, Bill Watrous Jimmy Heath, Dave Holland, Butch Miles, 1977 Mike Dillon Robert Share, Charles Suber, Clark 1975 Cecil Bridgewater, Dee Dee Dan Morgenstern, 1978 jim Thomas Terry Bridgewater, Jack Dejohnette, 1986 Conte Candoli, Alan Dawson, Chuck 1979 Joe Carey 1966 Don McMichael, QUincy Hubert Laws, Dan Morgenstern, rsreals, Ellis Marsalis, Dan Morgenstern, 1980 Stan Huddleston jones, Charles Suber, Billy Taylor, Chuck Rainey, Sonny Rollins Lew Tabackin 198[ Tim Griffin Fr Geo~e Wiskirchen, CSC 1976 Lester Bowie, Joe Farrell, 1987 Charlie Haden, Roy Haynes, Larry 1982 Kevin Bauer 1967 Donald Byrd, Don McMichael, Malachi Favors, Bob James, Dan Dwyer, Dan Morgenstern, Red Rodney, 1983 Bob O'Donnell Herbie Hancock, William Russo, Morgenstern, Don Moye, Dave Frank Wess 1984 Bob O'Donnell Lalo Schifrin, Robert Share Remmington 1988 john Clayton Jr, Danny Gottlieb, 1985 John j. Cerabino 1968 Ray Brown, Dan Morgenstern, 1977 Randy Brecker, Bob james, Eddie Harris, Mulgrew Miller, Dan 1986 jerry Murphy Oliver Nelson, Robert Share, Gerald Will Lee, Bob Moses, David Mo~enstern, jimmy Owens [987 Kevin Cronin Wilson Sanborn 1989 Dan Mo~enstern, Jim McNeely, • [988 David C Thornton 1969 Gary McFarland, Dan 1978 Louie Bellson, Hubert Laws, ClaudiO Roditi. Ed Shaugnessy, Frank Wess 1989 Kevin Keane, Paul Loughridge Mo~enstern, Sonny Stitt, Clark John Lewis, Dan Morgenstern, Terry, Ernie Wilkins, Fr George Larry Ridley, Lew Tabackin • J Archives of the University of Notre Dame Master of [erem onies --a---------~;;;;;;;;;;-i-~~j ThiS year's Master of Ceremonies for the Collegiate Jazz Festival is Tim Eby. Eby is in his eighth year of managing the local Public Radio Station WVPE­ FM 88.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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:
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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,
    [Show full text]
  • 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..
    [Show full text]
  • Volume 3 No.1 WINTER 1999 "Cuando Puerto Rico Comprenda El Valor De Su Folklore, Luchari Con Mucha Fuerza Para Defender Su Honor." — Rafael Cepeda
    Giiiro y Maraca Volume 3 No.1 WINTER 1999 "Cuando Puerto Rico Comprenda el valor de su folklore, luchari con mucha fuerza para defender su honor." — Rafael Cepeda A PUBLICATION OF THE SEGUNDA QUIMBAMBA FOLKLORIC CENTER, INC. William Cepeda: Trombonist, arranger, and composer, William Cepeda is a jazz virtuoso who has toured ABRIENDO CAMINOS with Dizzy Gillepsie, Paquito D'Rivera, Slide Hampton, By Juan Cartagena Lestor Bowie, David Murray and others. He holds two undergraduate degrees and It takes enormous talent one masters degree in music to bring to fruition recordings and has studied with that break the mold historically Hampton, Jimmy Heath and and musically in our ever- Donald Byrd. He created changing world. Bomba's roots historic collaborations between in Puerto Rico go back to the jazz arrangements and 1600s and its regional variations authentic Bomba rhythms on the Island are distinctinve. when he paired the late Don Additionally, the modernization Rafael Cepeda and LA of Bomba rhythms to FAMILIA CEPEDA with his contemporary music forms (rap, AFRORICAN JAZZ group at reggae, funk and jazz) is still in the Heineken Jazz Festival in its infancy. With the unveiling of 1993 and at City College in two separate recordings in only a NYC in 1996 (a concert that I few months, William Cepeda has broken the witnessed in awe). Finally, he is a sideman mold on both fronts. He is clearing the extraordinaire, having recorded or toured with pathways to the larger, world acceptance of BATACUMBELE, EDDIE PALMIERI, TITO Puerto Rico's authentic rhythms. His first PUENTE, OSCAR D'LEON, YOLANDITA recording was as producer and musical director MONGE, D'Rivera and the UNITED NATIONS for a cd of traditional folkloric rhythms with ORQUESTRA, INDIA and others.
    [Show full text]