July 8, July 24 Jazz Concerts at USD Office of Publicnfor I Mation

Total Page：16

File Type：pdf, Size：1020Kb

University of San Diego Digital USD News Releases USD News 1975-06-26 July 8, July 24 Jazz Concerts at USD Office of Publicnfor I mation Follow this and additional works at: http://digital.sandiego.edu/newsreleases Digital USD Citation Office of Public Information, "July 8, July 24 Jazz Concerts at USD" (1975). News Releases. 1276. http://digital.sandiego.edu/newsreleases/1276 This Press Release is brought to you for free and open access by the USD News at Digital USD. It has been accepted for inclusion in News Releases by an authorized administrator of Digital USD. For more information, please contact [email protected]. JULY 8, JULY 24 JAZZ CONCERTS AT USD FOR IMMEDIATE RELEASE: THIS RELEASE SUPERSEDES "JAZZ CONCERTS SET AT USD" DATED 6/25/75. PLEASE NOTE DATE CHANGE! Dick Braun's Big Band will present two free jazz concerts at the University of San Diego in July. Both will take place in the Camino Theatre: July 8 at 7 p.m., and July 24 at 7 p.m. The public is invited. Braun's 16-piece band will perform a "history of Jazz" type of program, ranging from swing and dixieland jazz up through the 70's, including some jazz rock. The band is comprised of 4 trumpets, 4 trombones, 5 saxaphones, guitar, base, and drums. Braun plays a variety of instruments at concerts. Many of the band members have previously played with big name bands. The two-hour programs will include such songs as "Let's Dance," "Sweet Caroline," "We've Only Just Begun," and "Moonlight Serenade." The concerts are presented by USD as part of the 1975 Summer Session. # # # 6/26/75 ( .

Copy Link

Recommended publications

THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
[Show full text]
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
[Show full text]
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
[Show full text]
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr.
[Show full text]
Proquest Dissertations
A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
[Show full text]
Values and Practices in Contemporary Improvised Music Author(S): David Borgo Source: Black Music Research Journal, Vol
Negotiating Freedom: Values and Practices in Contemporary Improvised Music Author(s): David Borgo Source: Black Music Research Journal, Vol. 22, No. 2, (Autumn, 2002), pp. 165-188 Published by: Center for Black Music Research - Columbia College Chicago and University of Illinois Press Stable URL: http://www.jstor.org/stable/1519955 Accessed: 23/07/2008 16:48 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cbmr. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org NEGOTIATINGFREEDOM: VALUES AND PRACTICES IN CONTEMPORARYIMPROVISED MUSIC DAVIDBORGO Freeimprovisation is not an action resultingfrom freedom;it is an action directedtowards freedom.
[Show full text]
Nomination Form International Memory of the World Register
Nomination form International Memory of the World Register THE MONTREUX JAZZ FESTIVAL, CLAUDE NOBS’ LEGACY (Switzerland) 2012-15 1.0 Summary (max 200 words) « It’s the most important testimonial to the history of music, covering jazz, blues and rock ». These are the words that Quincy Jones pronounced to present the preservation and restoration project of one of the musical monuments from the 20th century, the Montreux Jazz Festival Archives. From Aretha Franklin or Ray Charles to David Bowie or Prince, more than 5,000 hours of concerts have been recorded both in audio and video, since the creation of the Montreux Jazz Festival in 1967, by the visionary Claude Nobs. This collection contains many of the greatest names in middle and mainstream Jazz, including Errol Garner, Count Basie, Lionel Hampton, Dizzy Gillespie, Oscar Peterson to Herbie Hancock. Most of them composed great number of improvised jam sessions extremely rare. Miles Davis played his last performance, conducted by Quincy Jones in 1991. Many artists, like Marvin Gaye, recorded their first and only performance for television in Montreux. This collection of “live” music recordings, ranging from 1967-2012, with universal significance and intercultural dimensions has no direct equal in the world. This musical library traces a timeline of stylistic influences from the early styles of jazz to the present day. In 2007, Swiss Federal Institute of Technology in Lausanne (EPFL) and the Montreux Jazz Festival have decided to join forces to create a unique and first of a kind, high resolution digital archive of the Festival. 2.0 Nominator 2.1 Name of nominator (person or organization) THIERRY AMSALLEM (MONTREUX JAZZ FESTIVAL FOUNDATION) 2.2 Relationship to the nominated documentary heritage MEMBER OF THE MONTREUX JAZZ FESTIVAL FOUNDATION BOARD & OWNER AND CURATOR OF THE MONTREUX JAZZ FESTIVAL AUDIOVISUAL LIBRARY 2.3 Contact person(s) (to provide information on nomination) M.
[Show full text]
University of Mary Jazz Festival Guest Artists
University of Mary Jazz Festival Guest Artists 2020 Kim Nazarian, vocal Jeremy Allen, bass Nestor Torres flute Jennifer Scovell Parker, vocal Mike Waldrop, drums Jorge Luis Sosa piano Shon Parker, vocal Kirby Shaw, vocal jazz Edwin Bonilla drums Stephen Futrell, vocal jazz Rey Monroig drums 2015 Rueben Caban trombone Donny McCaslin, sax 2011 Agustin Conti bass Kirk Marcy, vocal Jeff Coffin, saxophone Amie Nolte vocal jazz Jay Ware, percussion Vijay Singh, vocalist Justin Binek vocal jazz * Jeremy Fox, vocal Michele Weir, vocalist Rachel Eckroth, vocal/piano Tom Giampietro, drums 2019 Joey Tartell, trumpet Vladan Milenkovic, piano Terell Stafford, trumpet Zach Lapidus, piano 2010 Ulysses Owens, Jr. drums Jon Faddis, trumpet Christine Jensen, saxophone 2014 Darmon Meader, saxophone, Luke Malewicz, trombone Conrad Herwig, trombone vocalist Stephen Futrell, vocal jazz Shawn Edmonds, trumpet Steve Zegree, vocalist Jennifer Scovell Parker, vocal Mark Gross, sax jazz Champian Fulton, 2009 Shon Parker, vocal jazz vocal/piano Everette DeVan, organ Steven Zegree, vocal/piano Tim Whitmer, piano 2018 Dion Parson, percussion Rod Fleeman, guitar Helen Sung, piano Millie Edwards, vocalist Steve Davis, trombone 2013 Duck Warner, vocalist Corey Christiansen, guitar (40th Anniversary) Jim Mair, sax (’88)* Josh Johnson, saxophone Dave Lisik, True North, vocal jazz composer/trumpet * 2008 John Pittman, trumpet * Mario DeCiutiis, percussion 2017 Terry Peffer, saxophone * Paul van Wageningen, New York Voices Justin Binek, vocal/piano * percussion Jay Ashby, trombone Kerry Marsh, vocal Jim Mair, sax (’88)* Dave Douglas, trumpet Michael Land, piano Marc van Wageningen, bass Jonathan Maron, electric Jim McMahon, trumpet * David K Mathews, keyboards bassist Jon Baumann, trombone * John Worley, Jr.
[Show full text]
Jazz Guitar: the History, the Players
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 4-2002 Jazz Guitar: The History, The Players James Aubrey Crawford University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Crawford, James Aubrey, "Jazz Guitar: The History, The Players" (2002). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/528 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. UNIVERSITY HONORS PROGRAM .I 'J SENIOR PROJECT - APPROVAL Name: __~.)~'~~~~C:~~~4~~~~~~~~~---------- ____________________________ __ College: &b + SciCNtc..c..-S Faculty Mentor: -Pcp.y..\ U.4!C I have reviewed this completed senior honors thesis with this student and certify that it is a project com . ors level undergraduate research in this field. Signed: , Faculty Mentor Date: 4 W/ 0:2 Comments (Optional): Jazz Guitar: The History, The Players Jim Crawford Paul Haar, Faculty Mentor, UT Jazz Faculty Thomas Broadhead, Director, University Honors Thanks to Paul Haar of the UT Jazz Facultyfor his help, guidance, and his ability to manufacture time from thin air in order to meet with me. Thanks also goes to Konrad Whitt for allowing me to burn CDs at his expense, and steal his stereo for my presentations.
[Show full text]
Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, History Commons, and the Music Commons Recommended Citation anderson, Benjamin Park, "Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626478. https://dx.doi.org/doi:10.21220/s2-9ab3-4z88 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BLUE NOTES AND BROWN SKIN Five African-American Jazzmen and the Music they Produced in Regard to the American Civil Rights Movement. A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Benjamin Park Anderson 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts imin Park Anderson Approved by the Committee, May 2005 Dr. Arthur Knight, Chair Ids McGovern . Lewis Porter, Rutgers University, outside reader ii TABLE OF CONTENTS Page Acknowledgements iv List of Illustrations V List of Musical Examples vi Abstract vii Introduction 2 Chapter I.
[Show full text]
Christopher G. Bakriges, Ph.D
Christopher G. Bakriges, Ph.D. www.bakriges.com Areas of Concentration Ethnomusicology: World Music; Ethnography (analysis, field/lab methods, area studies) Jazz: Improvisation, Theory, Arranging, History, Ensemble, Performance, Piano, MIDI Popular Music Studies: American and non-Western Music; Global Pop; Modernism; Avant-gardism Professional Qualifications/Teaching History 2013-present, Massachusetts College of Art and Design, 621 Huntington Avenue, Boston, MA 02115 Visiting Lecturer, Liberal Arts Department, teaching The World of Music; supervise directed study in music theory and composition; 2013, MassArt, Studio for Interrelated Media, Multimedia & Performing Arts Dept., Boston, MA Artist in Residence; conduct workshops in musicianship and theory for Projects in Sound, Choreography and Performance, Recording Arts Studio courses, and an Art History independent study 2003-present, Elms College, 291 Springfield Street, Chicopee, MA 01013 Lecturer, Humanities and Fine Arts and Creative Artist in Residence; coordinate music minor curriculum; teach classes; conduct ensembles; stage recitals; departmental and divisional initiatives; music director, Elms Theater for Social Justice 2014-present, Elms College Partnership, Berkshire Medical Center, Pittsfield, MA [summer] *Lecturer, RN/BS Nursing Program; teach Music Cultures of the World, Berkshire Campus (‘17) *Lecturer, Performing Arts Department, Holyoke Community College, Holyoke, MA; teach The World of Music in the accelerated bachelor's degree program for students in accounting
[Show full text]
The Cultural Challenges and Limitations of Free Jazz in the 1960S
Iain Anderson. This Is Our Music: Free Jazz, the Sixties, and American Culture. Philadelphia: University of Pennsylvania Press, 2006. vi + 258 pp. $22.00, paper, ISBN 978-0-8122-2003-2. Reviewed by Zachary J. Lechner Published on H-1960s (July, 2008) The emergence of free jazz music in the 1960s ing status of jazz" (p. 2). He posits two chief ques‐ presented a signiﬁcant challenge to the jazz tions: How inﬂuential were black activists and in‐ canon. Free improvisers such as Ornette Coleman, tellectuals in transforming the cultural hierarchy, Cecil Taylor, Eric Dolphy, Archie Shepp, and Sun and, after World War II, did a broadening of Ra pushed the boundaries of jazz. For these per‐ wealth and education bridge the void between formers, bebop, hard bop, modal, and other jazz high and low culture? Anderson argues that free innovations of the 1940s and 1950s were too re‐ improvisers and their supporters challenged the strictive. They abandoned fxed chord changes promotion of jazz as "America's artform" and of‐ and tempos. For some listeners, it sounded inno‐ ten attempted to claim it as distinctive of the vative and exciting; others found the music chaot‐ African American experience. In doing so, they ic and threatening. drove away most of the jazz audience. Universi‐ Iain Anderson, an associate professor of histo‐ ties and other high arts institutions interested in ry at Dana College, disagrees with the critics of better representing and supporting black culture, free improvisation, as Anderson generally refers as well as the avant-garde in the arts, welcomed to the style.
[Show full text]