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Listening Guide Jazz Classical Al Grey Christian Lindberg Albert Mangelsdorf Denson Paul Pollard Alan Ferber James Markey Andre Hayward Joe Alessi Andy Martin Larry Zalkind Bennie Green Ralph Sauer Bill Reichenbach Ron Barron Bill Watrous Stefan Schulz Bob Brookmeyer Weston Sprott Carl Fontana Salsa Conrad Herwig Willie Colon Curtis Fuller David Steinmeier Kansas City Symphony Trombones Dick Nash Roger Oyster, principal Elliot Mason Porter Wyatt Henderson, associate principal Frank Rosolino Adam Rainey, bass Fred Wesley Grachan Moncur III Trombone Ensembles Hal Crook Bones Apart J.J. Johnson Bonerama Jack Teagarden Four of a Kind Jiggs Whigham New Trombone Collective Jim Pugh New York Trombone Quartet John Fedchock Slide Hampton’s World of Trombones John Mosca Trombones de Costa Rica Julian Priester Viento Sur Kai Winding Lawrence Brown Horn Sections Marshall Gilkes The Phenix Horns (Primary Horn section for Melba Liston Earth, Wind, and Fire) Michael Dease Louis “Lui Lui” Satterﬁeld Paul McKee Tower of Power Horns (Primary Horn Robin Eubanks section for Tower of Power) Ryan Keberle Slide Hampton The Jerry Hey Horn Section (Countless Steve Davis recordings with Michael Jackson, Al Jarreau, Steve Turre and countless others!) “Tricky Sam” Nanton Bill Reichenbach, trombone “Trummy” Young Chicago Horn Section Tommy Dorsey James Pankow, trombone Urbie Green Vincent Gardner J.B. Horns (Primary Horn Section for James Wycliﬀe Gordon Brown) Fred Wesley, trombone www.brianscarboroughmusic.com Last Rev. (11/21/18).

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Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher 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, Howard Mandel, 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,
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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,
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Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
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The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
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“Big Chief” Moore, in New York a Few Weeks Earlier on January 16
WIND12413 ITF Douglas Yeo ITA.qxp_Layout 1 5/22/17 11:24 AM Page 1 July 2017/ Volume 45, Number 3 / $11.00 Denson Paul Pollard — Page 36 Douglas Yeo Depends on Yamaha “Yamaha trombones are the most flexible, finely engineered and well-made instruments INTERNATIONALINTERNATIONAL I have ever played. They allow my musical voice to be expressed beautifully every time I have a trombone in my hands.” Douglas Yeo Visit 4wrd.it/yeoITA2 for details World-renowned Bass Trombonist ASSOCIATION JOURNAL THETHE QUARTERLYQUARTERLY PUBLICATIONPUBLICATION OFOF THETHE ITAITA Take it, Big Chief! An Appreciation of Russell Moore Photo credit: Timothy Hutchens INTERNATIONAL TROMBONE ASSOCIATION JOURNAL The Quarterly Publication of the ITA Volume 45, Number 3 / July 2017 General News — Page 6 The International Trombone Association is Dedicated to the Artistic Advancement of Trombone Teaching, Performance, and Literature. Contents Features Take It, Big Chief: An Appreciation of Russell Moore ITA JOURNAL STAFF by Douglas Yeo .............................................................. 18 Managing Editor A Conversation with Denson Paul Pollard Diane Drexler by Douglas Yeo ................................................................ 36 3834 Margaret Street, Madison, WI 53714 USA / [email protected] Associate Editors Feature Stories – Bruce Gunia Departments [email protected] Announcements ...................................................................... 2 Jazz – Antonio Garcia President’s Column - Ben van Dijk ..........................................
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TOM MCINTOSH NEA Jazz Master (2008)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOM MCINTOSH NEA Jazz Master (2008) Interviewee: Tom McIntosh (December 6, 1927 – July 26, 2017) Interviewer: Eric Jackson with recording engineer Ken Kimery Date: December 9-10, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 57 pp. Eric Jackson: Today is Friday December 9th. We are talking to Tom “Mac” McIntosh. Tom, let’s begin at the beginning. You were born in Baltimore December 6th 1927? McIntosh: Baltimore, Maryland. Eric Jackson: Baltimore, Maryland. December 6th, 1927? McIntosh: That is correct. Eric Jackson: How big was your family? Were you the youngest, the oldest…? McIntosh: My father had a son by another woman that was seven years older than me. I was the oldest of my mother’s children. My mother had six children. I was the oldest of the six. Eric Jackson: Was it a musical household? McIntosh: Fortunately, I had a mother and a father that were musically inclined. My father, he yearned to be the lead singer in the Mills Brothers. I didn’t appreciate that until later on in years when I discovered that Dean Martin and Frank Sinatra all said that it was the leader of the Mills Brothers that made them want to sing. And looking back, my father was like the leader had a paunch on. But, he made it attractive For additional information contact the Archives Center at 202.633.3270 or [email protected] because he could move his belly in sync with the rhythm of “the lazy river…” (Scats the song) And his belly is moving in rhythm with it! He was always very attractive.
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The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone.
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Guide to the Melba Liston Collection
Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Melba Liston Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Melba Liston Collection, 1941-1999 EXTENT 44 boxes, 81.6 linear feet COLLECTION SUMMARY The Melba Liston Collection primarily documents her careers as arranger, composer, and educator rather than her accomplishments as a trombonist. It contains lead sheets to her own and other people’s compositions and manuscript scores of many of her arrangements for Duke Ellington, Dizzy Gillespie, Clark Terry, and Mary Lou Williams, among others. One extensive series contains numerous arrangements for Randy Weston, and her late computer scores for him are also present. PROCESSING INFORMATION The collection was processed, and a finding aid created, by Kristin McGee in 2000 and the finding aid was updated by Laurie Lee Moses in 2010 and Heidi Marshall in 2020. BIOGRAPHICAL NOTE Melba Liston was a jazz composer, arranger, and performer born in 1926. She was a trombonist during an era (1942–1985) when few women played brass instruments and even fewer toured with jazz bands. She played in the bands of several important jazz musicians, including Count Basie, Dexter Gordon, Dizzy Gillespie, Charles Mingus, Randy Weston, and Quincy Jones. Liston had an active career as an arranger for important jazz composers as well as popular music record labels. She also worked with youth orchestras in the troubled neighborhood of Watts, California, leaving the United States to teach at the Jamaica Institute of Music for six years (1973–1979).
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Derek Bourgeois' Concerto for Trombone, Opus 114 a Performer's Guide and Annotated Bibliography of His Solo and Chamber Works for Trombone William Jason Haugeberg
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Derek Bourgeois' Concerto for Trombone, Opus 114 a Performer's Guide and Annotated Bibliography of His Solo and Chamber Works for Trombone William Jason Haugeberg Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC DEREK BOURGEOIS’ CONCERTO FOR TROMBONE, OPUS 114 A PERFORMER’S GUIDE AND ANNOTATED BIBLIOGRAPHY OF HIS SOLO AND CHAMBER WORKS FOR TROMBONE By WILLIAM JASON HAUGEBERG A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2012 William J. Haugeberg defended this treatise on May 2, 2012. The members of the supervisory committee were: John Drew Professor Directing Treatise Richard Clary University Representative Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii I dedicate this to my parents. Thank you for the unwavering support, guidance and encouragement. iii ACKNOWLEDGEMENTS I would like to acknowledge Derek Bourgeois for participating in an interview for this project and his brilliant musical writing that inspired me to write this Treatise. I would also like to acknowledge Dr. John Drew, who has been an inspiration for me both musically and professionally. Your guidance, attention to detail, encouragement, mentorship and sense of humor greatly enhanced my time in Tallahassee. Thank you for everything. Dr. Christopher Moore and Professor Richard Clary, thank you for the considerable time and effort spent on my Treatise and your guidance throughout my studies at Florida State University.
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Sonny Red Oral History 2020
BLUESVILLE: THE JOURNEY OF SONNY RED Anders Svanoe INTRODUCTION The first time I heard Sonny Red on record, I wondered, “Who is this guy?” Luckily for me, I had stumbled on Curtis Fuller's New Trombone, which started the nine-year (and still counting) love affair with Sonny Red (a.k.a. Sylvester Kyner). That particular record really caught my attention, since I had never heard that much trombone and alto saxophone pairing on the front line. But there was something almost suspicious in how these two masterful musicians blended and embellished every note together as if they were one. It seemed they knew each other well. Almost too well. Red's organic sound on the alto saxophone was a perfect match for Curtis Fuller. I couldn't explain why I liked it so much, other than to say it was captivating, heartfelt and real. Imperfectly perfect, if you can say that. In the following weeks I looked for additional record dates that featured Sonny, but found very few sessions available on CD. Not even Out Of the Blue, perhaps Red's finest effort, was available in the U.S. Now Sonny's albums are finally resurfacing on CD, and are beginning to attract positive attention. When these albums first came out in the late 1950s and early 1960s, they were sadly overlooked. This was a common problem for bebop alto players recording in the 1950s: there were just too many other great alto players recording a similar type of music, and Red's style somehow got lost in the mix.
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University of Redlands • June 28 – July 1, 2017
PROGRAM University of Redlands • June 28 – July 1, 2017 Contents Welcome Letters.....................................2 Host ...........................................................3 Officers, Boards and Advisors .............4 Exhibitors and Exhibit Hours ...............4 Redlands Campus Map ........................5 ITF Schedule ............................................8 Jr. ITF Schedule .....................................29 2017 ITA Award Winner ......................32 About Solo and Ensemble Competitions .....................35 Competitions Final Rounds and Concerts .........................................36 2017 Student Workers ........................40 Advertiser Index ...................................44 Cover photo: University of Redlands WELCOME Welcome to the 46th International Trombone Festival! I want to thank you all for supporting this wonderful event at the University of Redlands. Dr. Glendening has put together an amazing festival for all of us to enjoy. You will hear some of the best trombonists in the world in performance, attend some of the most educational masterclasses and clinics and be humbled when you stop by one of the ITF competitions and hear some of our finest young players. Feel free to try some of the many new trombone models at the instrument exhibits. The International Trombone Festival is the premiere trombone event anywhere and this year’s festival promises to be one of the best ever. Joseph Alessi Principal Trombone, New York Philharmonic President, International Trombone Association I am delighted to welcome you to the University of Redlands as host of the 2017 International Trombone Festival—the world’s largest annual trombone festival. This important gathering celebrates different genres and enhances the interests of trombone players of all ages and abilities from around the globe. Our campus is a unique setting to provide a forum for exchanging expertise and knowledge, and for showcasing amazing talent in beautiful and time-honored performance spaces while we enjoy our mutual love of music.
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Fall/Winter 2015
The NOTE Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Fall / Winer 2015 MED FLORY PART 2 • BILL DOBBINS • SUE TERRY • COTA In This Issue... The NOTE The NOTE contains some content that may be considered offensive. Authors’ past recollections reflect attitudes of the times and remain uncensored. Vol. 25 - No. 1 - Issue 62 3 A Note From the Collection Coordinator Fall/Winter 2015 by Matt Vashlishan 4 Phil In The Gap The NOTE is published two times per year by Phil Woods by the Al Cohn Memorial Jazz Collection, 6 Interview with Med Flory Part 2 East Stroudsburg University of Pennsylvania, by Bob Bush as part of its educational outreach program. 12 From the Bridge by Sue Terry Editor: 14 COTA Festival 2014 Matt Vashlishan, D.M.A. by Rick Chamberlain, photos by Bob Weidner Design/Layout: 17 Reflections on Bob Dorough’s “Eulalia” Charles de Bourbon at BGAstudios.com by Phil Mosley ESU Office of University Relations 21 Al Grey at ESU ________________________________ by Guest Editor Patrick Dorian Al Cohn Memorial Jazz Collection 27 Zoot Sims: a True Jazz Master Kemp Library by Bill Dobbins East Stroudsburg University 32 Straight Talk Part 2 200 Prospect St. by David Liebman East Stroudsburg, PA 18301-2999 34 Contributors & Acknowledgements [email protected] (570) 422-3828 www.esu.edu/alcohncollection From the Collection . East Stroudsburg University President Marcia G. Welsh, Ph.D. Dean of the Library and University Collections: Edward Owusu-Ansah, Ph.D. Cover Photo (front): Al Grey performing with plunger mute, ESU 1990. Photographed and do- The mission of the Al Cohn Memorial Jazz Collec- nated by Bob Napoli.
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