Sonny Stitt with the New Yorkers Mp3, Flac, Wma

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Sonny Stitt Sonny Stitt With The New Yorkers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Sonny Stitt With The New Yorkers Country: Spain Released: 1989 Style: Bop MP3 version RAR size: 1323 mb FLAC version RAR size: 1585 mb WMA version RAR size: 1804 mb Rating: 4.1 Votes: 223 Other Formats: ADX MIDI AAC AHX DMF VQF AA Tracklist Hide Credits The Best Things In Life Are Free 1 Written-By – DeSylva, Brown, Henderson* Engos, The Bloos 2 Written-By – Sonny Stitt It Might As Well Be Spring 3 Written-By – Rodgers & Hammerstein Cherokee 4 Written-By – Ray Noble I Didn't Know What Time It Was 5 Written-By – Rodgers & Hart Body & Soul 6 Written-By – Eddie Heyman*, Johnny Green People Will Say We're In Love 7 Written-By – Rodgers & Hammerstein Bloosey 8 Written-By – Sonny Stitt Birds' Eye 9 Written-By – Sonny Stitt Companies, etc. Manufactured By – Toshiba EMI Ltd Credits Alto Saxophone – Sonny Stitt Bass – Wendell Marshall Drums – Shadow Wilson Piano – Hank Jones Notes Recorded in N.Y.C., 1957. Barcode and Other Identifiers Barcode: 4 988006 658332 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Sonny Stitt With The LP 2226, RLP Roost, Royal LP 2226, RLP Sonny Stitt New Yorkers (LP, US 1957 2226 Roost 2226 Album, Mono) Fresh Sonny Stitt With The FSR-570, LP Sound FSR-570, LP Sonny Stitt New Yorkers (LP, Spain 1987 2226 Records, 2226 Album, RE) Roost Sonny Stitt With The Jazz Wax JWR 4514 Sonny Stitt New Yorkers (LP, JWR 4514 Europe 2009 Records Album, RE) Sonny Stitt, Shadow Sonny Stitt, Wilson, Wendell Shadow Marshall, Hank Jones - YY-7003-RO, LP Wilson, Roulette, YY-7003-RO, LP Sonny Stitt With The Japan 1973 No. 2226 Wendell Roost No. 2226 New Yorkers (LP, Marshall, Album, Mono, Ltd, Hank Jones RE) Sonny Stitt, Sonny Stitt, Shadow Shadow Wilson, Wendell YS-7135-RO, LP Wilson, Marshall, Hank Jones - Roulette, YS-7135-RO, LP Japan 1983 No. 2226 Wendell Sonny Stitt With The Royal Roost No. 2226 Marshall, New Yorkers (LP, Hank Jones Album, Mono, RE) Related Music albums to Sonny Stitt With The New Yorkers by Sonny Stitt Sonny Stitt, Lou - Keepers Of The Flame Sonny Stitt - Our Delight Sonny Stitt - The shadow of your smile Sonny Stitt, Harry Sweets Edison & Eddie Lockjaw Davis - Sonny, Sweets & Jaws Stan Getz, Dizzy Gillespie, Sonny Stitt - For Musicians Only Sonny Stitt - Tune-Up! Stan Getz / Dizzy Gillespie / Sonny Stitt - For Musicians Only Sonny Stitt - Sonny Stitt Plays Arrangements From The Pen Of Quincy Jones Sonny Stitt - Primitivo Soul! Sonny Stitt + 4 - Sonny Stitt Plus Four.

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Annie Ross Uk £3.25
ISSUE 162 SUMMER 2020 ANNIE ROSS UK £3.25 Photo by Merlin Daleman CONTENTS Photo by Merlin Daleman ANNIE ROSS (1930-2020) The great British-born jazz singer remembered by VAL WISEMAN and DIGBY FAIRWEATHER (pages 12-13) THE 36TH BIRMINGHAM, SANDWELL 4 NEWS & WESTSIDE JAZZ FESTIVAL Birmingham Festival/TJCUK OCTOBER 16TH TO 25TH 2020 7 WHAT I DID IN LOCKDOWN [POSTPONED FROM ORIGINAL JULY DATES] Musicians, promoters, writers 14 ED AND ELVIN JAZZ · BLUES · BEBOP · SWING Bicknell remembers Jones AND MORE 16 SETTING THE STANDARD CALLUM AU on his recent album LIVE AND ROCKING 18 60-PLUS YEARS OF JAZZ MORE THAN 90% FREE ADMISSION BRIAN DEE looks back 20 THE V-DISC STORY Told by SCOTT YANOW 22 THE LAST WHOOPEE! Celebrating the last of the comedy jazz bands 24 IT’S TRAD, GRANDAD! ANDREW LIDDLE on the Bible of Trad FIND US ON FACEBOOK 26 I GET A KICK... The Jazz Rag now has its own Facebook page. with PAOLO FORNARA of the Jim Dandies For news of upcoming festivals, gigs and releases, features from the archives, competitions and who 26 REVIEWS knows what else, be sure to ‘like’ us. To find the Live/digital/ CDs page, simply enter ‘The Jazz Rag’ in the search bar at the top when logged into Facebook. For more information and to join our mailing list, visit: THE JAZZ RAG PO BOX 944, Birmingham, B16 8UT, England UPFRONT Tel: 0121454 7020 BRITISH JAZZ AWARDS CANCELLED WWW.BIRMINGHAMJAZZFESTIVAL.COM Fax: 0121 454 9996 Email: [email protected] This is the time of year when Jazz Rag readers expect to have the opportunity to vote for the Jazz Oscars, the British Jazz Awards.
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Duke Ellington Kyle Etges Signature Recordings Cottontail
Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke Ellington, states that Cottontail “opened a window on the future, predicting elements to come in jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more grandiose pieces with more extended forms.
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Herb Ellis After Hours Session Mp3, Flac, Wma
Herb Ellis After Hours Session mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: After Hours Session Country: Germany MP3 version RAR size: 1109 mb FLAC version RAR size: 1956 mb WMA version RAR size: 1983 mb Rating: 4.1 Votes: 967 Other Formats: WMA MP2 TTA RA APE MIDI MP4 Tracklist A1 Pap's Blues 7:04 A2 Big Red's Boogie Woogie 5:37 A3 Tin Roof Blues 2:59 A4 Soft Winds 6:00 B1 Royal Garden Blues 4:45 B2 Patti Cake 6:00 B3 Blues For Janet 7:10 B4 Blues For Junior 4:50 Credits Bass – Ray Brown Drums – Stan Levey Guitar – Herb Ellis Tenor Saxophone – Stan Getz Trumpet – Roy Eldridge Notes German Pressing on Verve Records Other versions Category Artist Title (Format) Label Category Country Year Nothing But The Blues MG V-8252 Herb Ellis Verve Records MG V-8252 US 1957 (LP, Album) Nothing But The Blues 521 674-2 Herb Ellis Verve Records 521 674-2 Europe 1994 (CD, Album, RE) Nothing But The Blues 20MJ 0048 Herb Ellis Verve Records 20MJ 0048 Japan 1985 (LP, Album, Mono, RE) Nothing But The Blues MV-1145 Herb Ellis Verve Records MV-1145 Japan Unknown (LP, Album, Mono, Promo) Nothing But The Blues 33CX 10139 Herb Ellis Columbia 33CX 10139 UK 1957 (LP, Album, Mono) Related Music albums to After Hours Session by Herb Ellis Stan Getz / Dizzy Gillespie / Sonny Stitt - For Musicians Only Dizzy Gillespie / Stan Getz / Sonny Stitt, John Lewis - For Musicians Only Stan Getz & Friends - Stan Getz & Friends Stan Getz And The Oscar Peterson Trio - Stan Getz And The Oscar Peterson Trio Stan Getz - Dizzy Gillespie - Sonny Stitt - For Musicians Only Lester Young - Carnegie Blues Herb Ellis - Man With The Guitar Max Roach, Stan Levey, Howard Rumsey's Lighthouse All-Stars - Drummin' The Blues Stan Getz - Jazz & Blues Collection Vol.
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Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences
William Hanson Falk Seminar Spring 2008 Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences Thelonious Monk was a prolific and monumental figure in modem jazz. He directly contributed to the evolution of bebop, as well as influenced the development of free jazz, and the contributed additions to the standard jazz repertoire. Monk branched out fiom his influences, including swing, gospel, blues, and classical to create a unique style of composition and performance. Monk more than any other major figure in bebop, was, and remains, an original1 Monk's life can be categorized into three periods: the early, the middle, and late period. Each period lasts roughly twenty years: from 1917- 1940,1940-1960, and from 1960-1982. In Monk's early period he toured the US playing gospel music, and found early influences in swing music like Duke Ellington. It wasn't until his middle period that Monk began to record and write his compositions, and in his late period he toured the world with other renowned musicians playing bebop. Thelonious Junior ~onl?was born October 10,191 7 in Rocky Mountain, North Carolina to Barbara Batts Monk and Thelonious Monk, Senior. Thelonious was the middle child, with an older sister, Marion born in 1915, and younger brother, Thomas born in 1919. Monk's birth certificate lists his father as an ice puller, and his mother as a household worker. Although both of his parents could read and write, they struggled to make enough to live on. In 1922 Thelonious' mother insisted that she take the family to New York to make a better living.
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The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year.
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SKIVLISTA SU VT 17 (+ Tips) SEM 1: CHARLIE PARKER
SKIVLISTA SU VT 17 (+ tips) SEM 1: CHARLIE PARKER - ”Cherokee”, 1942 (The Baronesse) - ”Confirmation” -53 (CP Quartet, In Person) DIZZY GILLESPIE - ”Woodyn´You” (DG the Verve & Philips small group sessions) - ”Hot House” 1945, (Charlie Parker Quintet) MILES DAVIS - ”Little Willie Leaps” 1947 (Parker på tenorsax) - ”On Green Dolphin Street” -59 (Kind of Blue, Legacy) - ”Jean Pierre”, 1982 (We Want Miles) STAN GETZ - ”Three Little Words”, -58 (SG and the Oscar Peterson Trio) - ”Blood Count”, 1987 (m Kenny Barron, Live at Montmartre) ”I´m late, I´m late”, 1961 (Focus) CANNONBALL ADDERLY MED JOHN COLTRANE - ”Limehouse Blues” -59, (Cannonball Quintet in Chicago) SEM 2: SONNY STITT - ”I´ll Remember April”, -59, (SS with the Oscar Peterson Trio) - ”I Want to be Happy”, -51, (SS Quartet with Bud Powell) - ”Dark Eyes”, -58, (For Musicians Only, m Dizzy, Getz) J. J. JOHNSON - ”Lover Man”, -53 (m Clifford Brown, Brownie Speaks) - ”Riviera”, (All That Jazz vol 76, Jay & Kai) JULIAN CANNONBALL ADDERLEY - ”Star Eyes”, (The very Best of CA Quintet ) - Limehouse Blues” (CA Quintet Live in Chicago -59) CLIFFORD BROWN - ”Come Rain or Come Shine”, (Gigi Gryce – Clifford Brown Sextet, Paris -53) - ”Stardust”, (CB with Strings, -55) SEM 3. DIZZY GILLESPIE - ”Manteca”, (D.G. Big Band 1947 m Cano Pozo – congas) - ”Groovin High” (Live at Birdland, NYC, 1956) COUNT BASIE - ”April in Paris”, (April in Paris, Verve, 1957) - ”Midnight Blue”, (The Atomic Basie, 1957) DUKE ELLINGTON - ”Black & Tan Fantasy”, (D.E. at Newport 1956) - ”Diminuendo in Blue” , (------- @ --------) STAN KENTON - ”Lover” , (100 years anniversary edition) HARRY ARNOLD - ”Easy Living”, (Live radio 1959, voc Monica Z) GERRY MULLIGAN - ”Broadway”, (G.M.
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Sonny Stitt Low Flame Mp3, Flac, Wma
Sonny Stitt Low Flame mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Low Flame Country: US Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1438 mb FLAC version RAR size: 1516 mb WMA version RAR size: 1792 mb Rating: 4.8 Votes: 611 Other Formats: VOC MIDI VOX MMF AIFF MP3 AHX Tracklist A1 Low Flame 4:52 A2 Put Your Little Foot Right Out 5:22 A3 Cyhthia Sue 5:56 A4 Donald Duck 4:35 B1 Close Your Eyes 3:41 B2 Silly Billy 4:53 B3 Baby, Do You Ever Think Of Me 2:52 B4 Fine And Dandy 7:52 Companies, etc. Copyright (c) – Fantasy, Inc. Credits Alto Saxophone, Tenor Saxophone – Sonny Stitt Drums – Billy James Guitar – Paul Weeden Organ – Don Patterson Producer – Orrin Keepnews Notes From back sleeve : "Manufactured from master owned by Fantasy, Inc., Berkeley, California". Other versions Category Artist Title (Format) Label Category Country Year JLP 971 Sonny Stitt Low Flame (LP, Album) JAZZLAND JLP 971 US 1962 JLP 71 Sonny Stitt Quartet Low Flame (LP, Mono) JAZZLAND JLP 71 US Unknown Related Music albums to Low Flame by Sonny Stitt Sonny Stitt, Lou - Keepers Of The Flame Sonny Stitt - Our Delight Sonny Stitt - The shadow of your smile Sonny Stitt With Booker Ervin & Don Patterson - Soul People Stan Getz, Dizzy Gillespie, Sonny Stitt - For Musicians Only Sonny Stitt / Bud Powell / J.J. Johnson - Sonny Stitt / Bud Powell / J.J. Johnson Sonny Stitt - Tune-Up! Stan Getz / Dizzy Gillespie / Sonny Stitt - For Musicians Only Sonny Stitt - Primitivo Soul! Sonny Stitt + 4 - Sonny Stitt Plus Four.
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Kenny Burrell Kenny Burrell Mp3, Flac, Wma
Kenny Burrell Kenny Burrell mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Kenny Burrell Country: US Released: 1956 Style: Hard Bop, Bop MP3 version RAR size: 1734 mb FLAC version RAR size: 1777 mb WMA version RAR size: 1855 mb Rating: 4.5 Votes: 480 Other Formats: VQF RA MP2 MP4 WAV FLAC MP1 Tracklist Hide Credits Get Happy A1 Written-By – Arlen*, Koehler* But Not For Me A2 Written-By – Gershwin* Mexico City A3 Written-By – Kenny Dorham Moten Swing A4 Written-By – Bennie Moten, Buster Moten Cheeta B1 Written-By – Kenny Burrell Now See How You Are B2 Written-By – Pettiford*, Harris* Phinupi B3 Written-By – Kenny Burrell How About You B4 Written-By – Lane*, Freed* Companies, etc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Recorded At – Audio-Video Studios Copyright (c) – Liberty Records, Inc. Credits Bass – Oscar Pettiford (tracks: A4, B1, B2, B3, B4), Paul Chambers (tracks: A1), Sam Jones (tracks: A3) Design [Cover Artwork] – Andy Warhol Design [Cover] – Reid Miles Drums – Arthur Edgehill (tracks: A3), Kenny Clarke (tracks: A1), Shadow Wilson (tracks: A4, B1, B2, B3, B4) Liner Notes – Leonard Feather Percussion – Candido (tracks: A1) Piano – Bobby Timmons (tracks: A3), Tommy Flanagan Producer – Alfred Lion Recorded By [Recording By], Mastered By [Mastering By] – Rudy Van Gelder Tenor Saxophone – Frank Foster (tracks: B2, B3, B4), J.R. Monterose (tracks: A3) Trumpet – Kenny Dorham (tracks: A3) Notes Recorded at the Audio-Video Studios, NYC on March 12, 1956 (tracks A4 to B4), at the Rudy Van Gelder Studio, Hackensack, NJ, on May 29, 1956 (track A1) and on May 30, 1956 (tracks A2, A3).
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JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref.
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Leo Parker “Mad Lad ”
1 The BARITONESAX of LEO PARKER “MAD LAD ” Solographer: Jan Evensmo Last update: April 6, 2020 2 Born: Washington D. C., April 18, 1925 Died: NYC. Feb. 11, 1962 Introduction: Leo Parker was one of the very first bebop baritonesax performers and therefore an interesting subject. However, I am not sure we liked his playing very much …, too rough for us. Nevertheless, as time goes by, it is obvious that he is a candidate for jazz archeology! History: He first recorded on alto saxophone with Coleman Hawkins in 1944 (not quite true, see below). He changed to baritone saxophone during his tenure with Billy Eckstine’s orchestra (1944-46) and became known as one of the finest performers in the bop style on that instrument, modelling his playing on that of Charlie Parker. He worked on 52nd Street with a small group led by Dizzy Gillespie in 1946, and performed briefly in Gillespie’s big band. His recording with Sir Charles Thompson of “Mad Lad” (1947), which gained him wider public attention, demonstrates a style of improvisation combining elements of bop with an extroverted rhythm-and-blues idiom. In 1947 Leo Parker joined the group led by Illinois Jacquet and worked intermittently with Jacquet into the 1950s. In the 50s LP had problems with drug abuse, which interfered with his recording career. He recorded two albums as a leader shortly before his death by heart attack (ref. New Grove Dictionary of Jazz, and Wikipedia). 3 LEO PARKER SOLOGRAPHY TRUMMY YOUNG Chi. Feb. 7, 1944 Trummy Young (tb), Leo Parker (as), Harry Curtis (ts), John Malachi (p), Tommy Potter (b), Eddie Byrd (dm).
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Jeff Rupert Saxophone Master Class
Jeff Rupert Saxophone Master Class I Saxophone Assembly and maintenance Holding the instrument. The neck and mouthpiece assembly. Checking key mechanisms. Checking for leaks, and clogged vents. Maintaining the lacquer. Setting the instrument down. II Posture The Back and neck. Legs and knees. III Breathing and Breath flow Inhaling. Exhaling. Breath solfège IV The Oral Cavity and the Larynx. V Embouchures for playing the saxophone. Variance in embouchure technique. The embouchure and breathing. VI Daily Routines for practicing the saxophone. Daily routines and rituals. Playing the mouthpiece. Playing the mouthpiece with the neck. Overtone exercises. VII Articulation Single tonguing. Doodle tonguing. Alternate articulations specific to jazz. Double tonguing. VIII Practice patterns for scales. Scales and Arpeggios Major, minor (dorian, natural minor, ascending jazz melodic minor, harmonic minor) and diminished. Resources for jazz scales. IX Equipment Different horns. Mouthpieces. Reeds. Ligatures. Neckstraps. X Resources for saxophonists Recordings. Web resources. Books and educational CD's and DVD's. Saxophonists in jazz and pop music. XI Conclusion. ©2009 Rupe Music Publishing 001 saxophone master class, Jeff Rupert pg2 I Saxophone Assembly and maintenance Neck and mouthpiece assembly: Putting the saxophone together is something we've all been doing since day one. It may seem trite to even address assembly of the instrument, but its been a common flaw not to develop good habits. I've seen broken mouthpieces, bent rods and necks several times from seasoned professionals who should have known better! This is precisely why its important to develop good habits when putting your instrument together. Prior to putting the mouthpiece on the neck, make certain that the cork is lubricated.
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Canadian Orchestras Struggle Toronto, Winnipeg, Calgary Twist in Storm of Government Cuts
Official Publication of the International Conference of Symphony and Opera Musicians VOLUME 40 NO. 1 On-line Edition January 2002 Canadian Orchestras Struggle Toronto, Winnipeg, Calgary Twist in Storm of Government Cuts The drastic reduction in subsidies for the arts enacted by the Canadian government a few years ago has had a dramatic effect on the financial health of Canadian orchestras, and thus on labor In the next few weeks a report relations in those orchestras. This financial uncertainty has exposed long-standing internal flaws in the way many Canadian orches- and survey will be distributed to tras have conducted their business operations. The following ICSOM orchestra members concerning musician’s view of the situation, which will appear in the January the future direction of the Electronic 2002 issue of Una Voce, the newsletter of OCSM, was shared with Senza Sordino by Steve Mosher, editor of Una Voce, and is Media Forum (EMF) and the national excerpted here with permission. – Ed. media negotiations. It is crucial that a b the EMF hear the views of as many In the September 29, 2001 issue of the Globe & Mail, arts musicians and orchestras as possible, columnist Robert Everett-Green made a few trenchant observations and from as many diverse perspectives on the state of Canadian orchestras under the title “Orchestras in the Pit.” OCSM President Rob McCosh offers his comments. as possible. Our national negotiators ORCHESTRAS IN THE PIT ONLY PART OF THE PIT can only serve our interests if they know There is a Canada-wide malaise and Robert Everett-Green only what those interests are.
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