Legendary Jazz Drummer and Producer Born in LA, Bill Goodwin Became a Working Musician in 1959, at Age 17, When He Joined the Charles Lloyd Quartet

Total Page:16

File Type:pdf, Size:1020Kb

Legendary Jazz Drummer and Producer Born in LA, Bill Goodwin Became a Working Musician in 1959, at Age 17, When He Joined the Charles Lloyd Quartet The presentation is organized for the Music Technology students and is open to the campus and community. Join us Thursday February 7th 2019 for a discussion with Bill Goodwin – Legendary jazz drummer and producer Born in LA, Bill Goodwin became a working musician in 1959, at age 17, when he joined The Charles Lloyd Quartet. He continued playing with many west coast jazz artists, notably Art Pepper, Leroy Vinnegar, Paul Horn, and George Shearing. He has also worked with vocalists Tony Bennett, Joe Williams, and Anita O’Day among others. In 1969 Bill was hired by Gary Burton and moved to NYC., spending three years with Burton and beginning an active freelancing career. He’s provided accompaniment for many major jazz names including Bill Evans, Dexter Gordon, Jim Hall, Al Cohn / Zoot Sims, Mose Allison and Bob Dorough (recording many segments of Schoolhouse Rock). In 1975 Goodwin recorded with Tom Waits for his important “Nighthawks at the Diner” live record. Goodwin is currently part of the faculty at William Paterson University, teaching drums and ensembles since 2000. He co-founded The Phil Woods Quartet in 1974 and did his first production work for that group in 1979/80. The ensemble earned two nominations from the Recording Academy for their first two albums and subsequent Grammys in 1976, 1980 and 1982 for best small group. Bill Goodwin has gone on to produce sessions for Tom Harrell, Lee Konitz, Dave Frishberg, Bob Dorough, Keith Jarrett, Pete La Roca and countless others. He is the artistic director of Deerhead Records and records for his own Vectordisk label. When: February 7th 2019 Where: Music Technology Center Time: 12:30 PM Performance Lab - MTC 105 This program is partially funded by the State of New Jersey and the U.S. Department of Education. .
Recommended publications
  • Mow!,'Mum INN Nn
    mow!,'mum INN nn %AUNE 20, 1981 $2.75 R1-047-8, a.cec-s_ Q.41.001, 414 i47,>0Z tet`44S;I:47q <r, 4.. SINGLES SLEEPERS ALBUMS COMMODORES.. -LADY (YOU BRING TUBES, -DON'T WANT TO WAIT ANY- POINTER SISTERS, "BLACK & ME UP)" (prod. by Carmichael - eMORE" (prod. by Foster) (writers: WHITE." Once again,thesisters group) (writers: King -Hudson - Tubes -Foster) .Pseudo/ rving multiple lead vocals combine witt- King)(Jobete/Commodores, Foster F-ees/Boone's Tunes, Richard Perry's extra -sensory sonc ASCAP) (3:54). Shimmering BMI) (3 50Fee Waybill and the selection and snappy production :c strings and a drying rhythm sec- ganc harness their craziness long create an LP that's several singles tionbackLionelRichie,Jr.'s enoughtocreate epic drama. deep for many formats. An instant vocal soul. From the upcoming An attrEcti.e piece for AOR-pop. favoriteforsummer'31. Plane' "In the Pocket" LP. Motown 1514. Capitol 5007. P-18 (E!A) (8.98). RONNIE MILSAI3, "(There's) NO GETTIN' SPLIT ENZ, "ONE STEP AHEAD" (prod. YOKO ONO, "SEASON OF GLASS." OVER ME"(prod.byMilsap- byTickle) \rvriter:Finn)(Enz. Released to radio on tape prior to Collins)(writers:Brasfield -Ald- BMI) (2 52. Thick keyboard tex- appearing on disc, Cno's extremel ridge) {Rick Hall, ASCAP) (3:15). turesbuttressNeilFinn'slight persona and specific references tc Milsap is in a pop groove with this tenor or tit's melodic track from her late husband John Lennon have 0irresistible uptempo ballad from the new "Vlaiata- LP. An air of alreadysparkedcontroversyanci hisforthcoming LP.Hissexy, mystery acids to the appeal for discussion that's bound to escaate confident vocal steals the show.
    [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]
  • Morgenstern, Dan. [Record Review: Dave Frishberg: Oklahoma Toad
    Records ore reviewed by Chris Albertson, Mike Bourne, Don DeMicheol , Alon Heineman, Wayne Jones, Lorry Kort, John Litweiler, John McDonough, Don Morgenstern, Don Nelsen, Harvey Pekar, Doug Ramsey, Harvey Siders, Carol Sloane, and Jim Szontor. Reviews ore signed by the writers. recurRatings ore: * * * * * excellent, * * * * very good, * * * good, * * fair, * poor. Most recordings reviewed ore ovailoble for purchase through the down beat/RECORD CLUB. ( For membership information see details elsewhere in this issue or write to AEVIEIIWS down beat/RECORD CLUB, 222 W. Adams, Chicago, IL 60606) play rock. A high camp crowdpleaser. a unique story in Jess than three minutes, DON ELLIS Antea, another fine Levy original, pre­ while the equally unexpected slow tempo DON ELLIS AT FILLMORE-Columbia cedes the album's highlight, Old Man's applied to Exactly yields equally warm, G30243: Tina/ Analysis; Excursion II; Tb • Magic Bus At• M;, Dougbr111t; Th, B/uu; Sahatort Tear, a melancholy ballad portraying "an affecting results. On the third ballad, What S,m; Rork Odyss-,; H,y Jud •: Anua: Old Mar1·s old man's life--his joys and sorrows Is There To Say?, Bud gives himself Tear; Great Vivid,; Pussy Wigg/, Stomp. Personnel: Ellis, trumpet, drums; Glenn Stn· ... " Though Klemmer's composition and more room to stretc h, and the result is art, Stu Blumberg, John Rosenberg, Jack Coan, arrangement are excellent, Ellis steals his a small masterpiece, reflective and more trumpets; Ernie Carlson. Glenn Ferris . trombones; Don Switzer, bass trombone; Doug Bixby , contra• thunder with stunning virtuosity. Great introspecti ve than is his custom, and rem­ bus, tuba; Fred Selden, Lonnie Shetter, Sam Divide, in 13/4, is a pulsating vehicle iniscent in mood of later Lester Young­ Falzone, John Klemmer, Jon Clarke, reeds; Jay Graydon, gu irar; Tom Garvio, piano; Dennis highlighted by Shelter's alto, more dazzling a rare groove to capture.
    [Show full text]
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN 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 and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • Biography-George-ROBERT.Pdf
    George ROBERT Born on September 15, 1960 in Chambésy (Geneva), Switzerland, George Robert is internationally reCognized as one of the leading alto saxophonists in jazz today. He started piano at a very early age and at age 10 he began Clarinet lessons at the Geneva Conservatory with LuC Hoffmann. In 1980 he moved to Boston and studied alto saxophone with Joe Viola at the Berklee College of MusiC. In 1984 he earned a Bachelor of Arts in Jazz Composition & Arranging and moved to New York where he enrolled at the Manhattan SChool of MusiC. He studied with Bob Mintzer and earned a Master’s Degree in Jazz PerformanCe in 1987. He played lead alto in the Manhattan SChool of MusiC Big Band for 2 years, whiCh earned in 1985 the 1st Prize in the College Big Band Category in the Down Beat Magazine Jazz Awards In July 1984 he performed on the main stage of the Montreux Jazz Festival and earned an Outstanding PerformanCe Award from Down Beat Magazine. In 1985 & 1986 he toured Europe extensively. In 1987 he met Tom Harrell and together they founded the George Robert-Tom Harrell Quintet (with Dado Moroni, Reggie Johnson & Bill Goodwin). The group Completed 125 ConCerts worldwide between 1987 & 1992, and reCorded 5 albums. He remained in New York City and free-lanCed for 7 years, playing with Billy Hart, Buster Williams, the Lionel Hampton Big Band, the Toshiko Akiyoshi-Lew Tabackin Jazz OrChestra, Joe Lovano, and many others. He met Clark Terry and started touring with him extensively, Completing a 16- week, 65-ConCert world tour in 1991.
    [Show full text]
  • Jazzletter Jujy 1936, VOI
    Jazzletter Jujy 1936, VOI. 5 NO. 7 \ how much jazz had infused his playing. The miscegenation of Are You Reading jazz and hillbilly has longgone on in-Nashville. and some ofthe best of its players are at ease in both idioms. Someone Else’s Copy? Lenny Breau came up through country-and-western music. Each issue of The Underground Grammarian contains the his parents beingprofessionals in the field. and it was'Nashville above question. lt’s discouraging. in the struggle to keep a small that made him welcome. He is. like Garland,‘Carllile and Reed, publication alive. to hear someone say something like, “-1 just the result ofthejazz-country fusion, exceptythat Breau took it a love it. A friend sends me his copies when he’s through with step further and brought into his work the full range ofclassical them.” . A guitar technique. Chet Atkins was the first a&r man to givehim ' In publications supported by advertising. salesmen boast to his head, letting him record for RCAia milestone album in potential advertisers about how many people read each copy. which he showed 0-ff his startling. .for the time, jazz-classical and to the advertiser seeking exposure of his message. those ‘technique, Gene Bertoncini, who is ‘probably the best living figures have weight. He is less interested in how manyypeople exponent of jazz on the five-finger classical guitar. admires buy a periodical than in how many see it. An important Breau; but then you’ll search far to find a guitarist who doesn’t. phenomenon in periodical publishing is what is known as Lenny was a heroin addict.
    [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]
  • Mixed Folios
    mixed folios 447 The Anthology Series – 581 Folk 489 Piano Chord Gold Editions 473 40 Sheet Music Songbooks 757 Ashley Publications Bestsellers 514 Piano Play-Along Series 510 Audition Song Series 444 Freddie the Frog 660 Pop/Rock 540 Beginning Piano Series 544 Gold Series 501 Pro Vocal® Series 448 The Best Ever Series 474 Grammy Awards 490 Reader’s Digest Piano 756 Big Band/Swing Songbooks 446 Recorder Fun! 453 The Big Books of Music 475 Great Songs Series 698 Rhythm & Blues/Soul 526 Blues 445 Halloween 491 Rock Band Camp 528 Blues Play-Along 446 Harmonica Fun! 701 Sacred, Christian & 385 Broadway Mixed Folios 547 I Can Play That! Inspirational 380 Broadway Vocal 586 International/ 534 Schirmer Performance Selections Multicultural Editions 383 Broadway Vocal Scores 477 It’s Easy to Play 569 Score & Sound Masterworks 457 Budget Books 598 Jazz 744 Seasons of Praise 569 CD Sheet Music 609 Jazz Piano Solos Series ® 745 Singalong & Novelty 460 Cheat Sheets 613 Jazz Play-Along Series 513 Sing in the Barbershop 432 Children’s Publications 623 Jewish Quartet 478 The Joy of Series 703 Christian Musician ® 512 Sing with the Choir 530 Classical Collections 521 Keyboard Play-Along Series 352 Songwriter Collections 548 Classical Play-Along 432 Kidsongs Sing-Alongs 746 Standards 541 Classics to Moderns 639 Latin 492 10 For $10 Sheet Music 542 Concert Performer 482 Legendary Series 493 The Ultimate Series 570 Country 483 The Library of… 495 The Ultimate Song 577 Country Music Pages Hall of Fame 643 Love & Wedding 496 Value Songbooks 579 Cowboy Songs
    [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]
  • SIDRAN, Ben (H.) 1943
    SIDRAN, Ben (H.) 1943- PERSONAL: Born August 14, 1943, in Chicago, IL; son of Louis W. and Shirley G. Sidran; married Judith Lutrin (a weaver), July 10, 1969; children: Leo. Nationality: American Education: University of Wisconsin (now University of Wisconsin—Madison), B.S. (cum laude), 1966; University of Sussex, M.A., 1968, Ph.D. (American studies), 1970. CAREER: Musician, record and television producer, singer, and composer. University of Wisconsin— Madison, lecturer, 1973-74; WMTV, host of "The Weekend Starts Now", 1973-74; WTTW-TV, artistic director of jazz programming for "Soundstage", 1975-76; National Public Radio, host and artistic director of "Jazz Alive" radio series, 1981-83, contributor to "All Things Considered" radio program, 1983-85, host and producer of "Sidran on Record", 1985-90, producer of "Jazz Profiles", 1996-99; VH-1 Television Network, host of "New Visions" television series, 1988-91. Go Jazz record label, founder, co-owner, and producer; Nardis Music, cofounder and producer, 2003. MEMBER: American Society of Composers, Authors and Publishers, National Academy of Recording Arts and Sciences, Musicians Federation. AWARDS, HONORS: Peabody Award, 1982, for "Jazz Alive" radio series; International Radio Festival winner, 1986, for "Sidran on Record"; ACE Award for Best Cable Music Series, 1989, for "New Visions"; Sundance Audience Award and New York Film Critics Award, both 1994, both for "Hoop Dreams" soundtrack; Aspen Film Festival prize, Emmy Award, and Dramatists Guild of America Award, all 1998, all for "Vietnam: Long Time Coming" soundtrack; Grammy Award nomination, 2000, for "Concert for Garcia Lorca"; Parents' Choice Award, 2003, for "El Elefante", Member of Wisconsin Arts Board; member of board of advisers on Popular Music and Society at Bowling Green State University; artist-in-residence, University of Wisconsin—Madison, 2003.
    [Show full text]