The Latin Side of Hot House
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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 -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Full Biography
Gina Leishman – Full Biography Composer and multi-instrumentalist Gina Leishman was born in England, studied music at the Vienna Conservatory and Edinburgh University (B.Mus.Hons.), and made her home in the U.S., first on the west coast and since the early ‘90s in New York City. She has written for theater, opera, dance, film, TV and the concert stage. Ms. Leishman was composer-in-residence at the Akrai Residency Program in Sicily, 2014, and at Montalvo Arts Center, Saratoga CA, in 2009 and 2010; also Artist in Residence at Colgate University in 2012. She has been the recipient of grants from the NEA, Meet The Composer, Lila Wallace/Readers Digest Fund, Rockefeller Foundation, Arts International, Chamber Music America, Doris Duke Foundation, American Music Center, Duffy Institute for new Opera and the California Arts Council, amongst others. She is co-founder of the septet Kamikaze Ground Crew. Together for over 30 years, they celebrated their 20th anniversary with a commission from Chamber Music America’s New Works: Creation and Presentation Program. Portraits was premiered at the 2007 San Francisco Jazz Festival. Other performances include Earshot Jazz Festival (Seattle), Frankfurt Jazz Festival and Donaueschingen New Music Festival (Germany) (who also commissioned new work), Vossa Jazz Festival (Norway), Merkin Hall and Joe’s Pub (New York), as well as regular gigs in and around downtown New York and Brooklyn. She also co-leads the Mr. Wau-Wa band, a quintet dedicated to the songs of Bertolt Brecht, for which she is the chief arranger and lead singer. Her work as a singer/songwriter includes Geography (2018), Baseless Rumors (2011), In My Skin (2007) and Bed Time (2004), all explorations of the Leishman Songbook. -
Mimesis: Foot Washing from Luke to John
Ephemerides Theologicae Lovanienses 92/4 (2016) 655-670. doi: 10.2143/ETL.92.4.3183465 © 2016 by Ephemerides Theologicae Lovanienses. All rights reserved. Mimesis: Foot Washing from Luke to John Keith L. YODER University of Massachusetts at Amherst Introduction In this paper I argue that the Foot Washing of John 13,1-17, as literary composition, is a mimesis of the Sinful Woman narrative of Luke 7,36-501. Maurits Sabbe first proposed this mimetic association in 19822, followed by Thomas Brodie in 19933 and Ingrid Rosa Kitzberger in 19944, but the pro- posal dropped from view without ever being fully explored. Now a fresh comparison of the two texts uncovers a large array of previously unsurveyed parallels. Evaluation of old and new evidence will demonstrate that this is an instance of creative imitation, that combination of literary μίμησις (imi- tatio) and ζήλωσις (aemulatio) widely practiced by writers in antiquity5. Key directional indicators will point to Luke as the original and John as the emulation. I will here examine fifteen features in Luke that are paralleled in John. Throughout, I reference the internal tests for intertextual mimesis developed by Dennis R. MacDonald: the density, order, distinctiveness, and interpret- ability of the parallels6. Since external evidence pertinent to the relative dating of the Gospels of Luke and John is scarce and subject to debate, I will not address his tests of accessibility and analogy, but will focus instead on pointers of directionality arising from the internal evidence. 1. This paper was first presented at the March 2016 Annual Meeting of the Eastern Great Lakes Region of the Society of Biblical Literature, in Perrysville, Ohio, USA. -
George Benson on Broadway Solo Transcription
George Benson On Broadway Solo Transcription If cracking or calycled Urbanus usually hoised his chromomere gelatinises mysteriously or inherit sublimely and brashly, how bucked is Milo? Gregory remains ill-conditioned after Garvin dragonnade instantly or planks any futurology. Stateside or penile, Chad never beneficiated any bondswoman! Right now available as george benson and solo discussing what situation he was like how i stumbled upon how everything from. We work with raised fourth and richard harrison likely have to unspecified error banner on. Sweet Little Bullet from a Pretty average Gun. Kenny g one of broadway theater critic fitzgerald could be one day, solo transcriptions library provide your fingers closer to. The George Benson Solo Example space is a transcription of the phrases from the Benson solo that it am using I a going to money the 2nd line. Breezin' Wikipedia. Pamela Ryman is on Facebook. You are very all to star your dreams and your plans. Japanese Garahaku art form. He demonstrates his signature scat-style singing on This Masquerade and soloing over go On Broadway vamp It also includes several virtuoso solo jazz and. Can we use whatever data and tailor ads for you? Chord Changes, difficulty, personal taste, etc. George Benson On Broadway Sheet Music Alto Pinterest. The benson or general inquries, the appearance of white robert ryman in case, wendell writes excellent solos from his playing style typified by. Sit down with members of Mariachi Sol De Oro, Carrie, Ricky, and Birdman. Kim calls for stronger military capabilities as party congress ends. Hank Marvin Gypsy Jazz. Get educated and inspired by watching tutorials, lessons, and leading people into. -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson 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, 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, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella 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 by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
Trent 91; First Steps Towards a Stylistic Classification (Revised 2019 Version of My 2003 Paper, Originally Circulated to Just a Dozen Specialists)
Trent 91; first steps towards a stylistic classification (revised 2019 version of my 2003 paper, originally circulated to just a dozen specialists). Probably unreadable in a single sitting but useful as a reference guide, the original has been modified in some wording, by mention of three new-ish concordances and by correction of quite a few errors. There is also now a Trent 91 edition index on pp. 69-72. [Type the company name] Musical examples have been imported from the older version. These have been left as they are apart from the Appendix I and II examples, which have been corrected. [Type the document Additional information (and also errata) found since publication date: 1. The Pange lingua setting no. 1330 (cited on p. 29) has a concordance in Wr2016 f. 108r, whereti it is tle]textless. (This manuscript is sometimes referred to by its new shelf number Warsaw 5892). The concordance - I believe – was first noted by Tom Ward (see The Polyphonic Office Hymn[T 1y4p0e0 t-h15e2 d0o, cpu. m21e6n,t se suttbtinigt lneo] . 466). 2. Page 43 footnote 77: the fragmentary concordance for the Urbs beata setting no. 1343 in the Weitra fragment has now been described and illustrated fully in Zapke, S. & Wright, P. ‘The Weitra Fragment: A Central Source of Late Medieval Polyphony’ in Music & Letters 96 no. 3 (2015), pp. 232-343. 3. The Introit group subgroup ‘I’ discussed on p. 34 and the Sequences discussed on pp. 7-12 were originally published in the Ex Codicis pilot booklet of 2003, and this has now been replaced with nos 148-159 of the Trent 91 edition. -
Liebman Expansions
MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world. -
Harry Allen Valerie Capers Linda May Han Oh Charnett Moffett
202509_HH_July_0 6/24/19 12:27 PM Page 1 The only jazz magazine THE LATIN SIDE in NY in print, online and on apps! OF HOT HOUSE P31 July 2019 www.hothousejazz.com Jazz Forum Page 10 Village Vanguard Page 10 Charnett Moffett Linda May Han Oh Valerie Capers Harry Allen Jazz at Kitano Page 17 Zinc, 75 Club and 92Y Page 21 Where To Go & Who To See Since 1982 202509_HH_July_0 6/24/19 11:39 AM Page 2 2 202509_HH_July_0 6/24/19 11:39 AM Page 3 3 202509_HH_July_0 6/24/19 11:39 AM Page 4 4 202509_HH_July_0 6/24/19 11:39 AM Page 5 5 202509_HH_July_0 6/24/19 12:26 PM Page 6 6 202509_HH_July_0 6/24/19 11:39 AM Page 7 7 202509_HH_July_0 6/24/19 11:39 AM Page 8 8 202509_HH_July_0 6/24/19 11:39 AM Page 9 9 202509_HH_July_0 6/24/19 11:39 AM Page 10 WINNING SPINS By George Kanzler WO MUSICIANS KNOWN FOR under Charnett's chant of "Free the slaves, intrepidly anchoring vibrant rhythm let 'em go." Jana contributes one composi- sectionsT over the years explore other tion to the album, "Precious Air," a song aspects of their artistry on new albums. with her own lyrics, delivered in a breathy Both Charnett Moffett and Linda May Han voice and the musical textures of folk-rock. Oh are bassists and the principal com- Linda May Han Oh's Aventurine posers on their latest releases, but for the (Biophilia), is what was called third- first time, Charnett exclusively plays fret- stream music in the mid-20th century.