MARIAN Mcpartland NEA Jazz Master (2000)
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The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Laurence Hobgood
Laurence Hobgood "One of the *inest pianists out there. Period." --All About Jazz “ . one of the most incredible pianists I’ve ever heard.” --Dave Brubeck "Welcome to a new piano star . Laurence Hobgood . --The Independent (UK) Best known for his collaboration with vocalist Kurt Elling, multiple Grammy-nominee and 2010 Grammy-winner Laurence Hobgood has enjoyed a multi-faceted and dynamic career. Musical Director for Elling since 1995, he’s played on, composed, arranged and co-produced all of Elling’s CDs (six for Blue Note and three for Concord), each Grammy- nominated. 2009’s Dedicated To You: Kurt Elling Sings The Music Of Coltrane and Hartman, recorded live at Lincoln Center, won the 2010 Grammy Award for Best Vocal Jazz Record. Hobgood began formal piano study at age six in Dallas, Texas, where his father was Chairman of the Southern Methodist University theatre program. At age 12, he was introduced to gospel and blues through his family's church. Several years later, after moving to Illinois, he began formal training in jazz. He attended the University of Illinois, where he played for three years in the "A" jazz ensemble led by John Garvey. During that time his classical study continued with Ian Hobson. After moving to Chicago in 1988, he established a local presence leading his own quintet and joining forces with some of Chicago's premier players, including Ed Peterson, Fareed Haque, and most importantly seven-time Grammy Award-winning drummer, Paul Wertico. The group, Trio New, with Hobgood, Wertico, and bassist Eric Hochberg, played to critical acclaim and established a serious connection with Wertico that spans many projects and ensembles. -
Prohibido Full Score
Jazz Lines Publications Presents the jeffrey sultanof master edition prohibido As recorded by benny carter Arranged by benny carter edited by jeffrey sultanof full score from the original manuscript jlp-8230 Music by Benny Carter © 1967 (Renewed 1995) BEE CEE MUSIC CO. All Rights Reserved Including Public Performance for Profit Used by Permission Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM This Arrangement has been Published with the Authorization of the Estate of Benny Carter. Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA benny carter series prohibido At long last, Benny Carter’s arrangements for saxophone ensembles are now available, authorized by Hilma Carter and the Benny Carter Estate. Carter himself is one of the legendary soloists and composer/arrangers in the history of American music. Born in 1905, he studied piano with his mother, but wanted to play the trumpet. Saving up to buy one, he realized it was a harder instrument that he’d imagined, so he exchanged it for a C-melody saxophone. By the age of fifteen, he was already playing professionally. Carter was already a veteran of such bands as Earl Hines and Charlie Johnson by his twenties. He became chief arranger of the Fletcher Henderson Orchestra when Don Redman left, and brought an entirely new style to the orchestra which was widely imitated by other arrangers and bands. In 1931, he became the musical director of McKinney’s Cotton Pickers, one of the top bands of the era, and once again picked up the trumpet. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 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]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
University of Maryland Commencement May 22, 2020
University of Maryland Commencemenmay 22, 2020 Table of Contents CONGRATULATIONS BACHELOR’S DEGREES From the President 1 Agriculture and Natural Resources, From the Alumni Association President 2 College of 24 Architecture, Planning and SPEAKER BIOGRAPHIES Preservation, School of 25 Graduating Student Speaker 4 Arts and Humanities, College of 25 University Medalists 5 Behavioral and Social Sciences, Honorary Degree Recipients 7 College of 29 Commencement Speaker 9 Business, Robert H. Smith School of 35 Computer, Mathematical, and DOCTORAL DEGREES 10 Natural Sciences, College of 42 Education, College of 48 MASTER’S DEGREES 15 Engineering, A. James Clark School of 49 Graduate Certificates 22 Information Studies, College of 52 Journalism, Philip Merrill College of 53 Public Health, School of 54 Public Policy, School of 56 THE “DO GOOD” CAMPUS Undergraduate Studies 56 Certificate Programs 56 The University of Maryland commits to becoming HONORS COLLEGE, CITATION AND a global leader in advancing social innovation, NOTATION PROGRAMS, AND ACADEMIC AND SPECIAL AWARDS philanthropy and nonprofit leadership with its Do Honors College 57 Good Campus. CIVICUS 59 College Park Scholars 59 Beyond the Classroom 62 Our Do Good Campus effort amplifies the power of Federal Fellows 62 Terps as agents of social innovation and supports First-Year Innovation and Research Experience 62 the university’s mission of service. We’re working to Global Communities 63 ensure all University of Maryland students graduate Global Fellows 63 equipped and motivated to do good in their careers, Hinman CEOs 63 Immigration and Migration Studies 63 their communities and the world. Jiménez-Porter Writers’ House 63 Language House 63 Ronald E. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Colby Alumnus Vol. 65, No. 2: Winter 1976
Colby College Digital Commons @ Colby Colby Alumnus Colby College Archives 1976 Colby Alumnus Vol. 65, No. 2: Winter 1976 Colby College Follow this and additional works at: https://digitalcommons.colby.edu/alumnus Part of the Higher Education Commons Recommended Citation Colby College, "Colby Alumnus Vol. 65, No. 2: Winter 1976" (1976). Colby Alumnus. 90. https://digitalcommons.colby.edu/alumnus/90 This Other is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Alumnus by an authorized administrator of Digital Commons @ Colby. The Colby Alumnus Volume 65, Number 2 Winter 1976 Published quarterly fall, winter, spring, summer by Colby College Editorial board Mark Shankland Earl H. Smith Design and production Donald E. Sanborn, Jr. Martha Freese Photography Mark Shankland Letters and inquiries should be sent to the editor, change of address notification to the alumni office Entered as second-class mail at Waterville, Maine Postmaster send form 3579 to The Colby Alumnus Colby College Waterville, Maine 04901 appraisal of the future of professions, or just in our President's Page personal arrangements for the security and well-being of ourselves and our families, we must take these changes into account and must assume that there will President Robert E. L. Strider gave the keynote address be continuing acceleration of change for all the span of to a conference of the Northeastern Industrial Devel years that most of us can foresee. opers Association recently in Portland. The conference I am surely not suggesting that this state of affairs is theme was "Survival Demands Sensitivity to Change." bad. -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 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 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. 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. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
Arts Maryland
ARTS MARYLAND To view online, go to: http://www.emarketingmd.org/Tourism/MSAC/Newsletter/January_10/Index.html PROGRAMS EVENTS GRANTS ARTS MARYLAND Latino Arts Roundtable JANUARY 2010 MSAC convenes session for Latino arts community Support the arts at Maryland Arts Day New policy allows TEP funding for public art Nine Md. organizations receive NEA awards MSAC convenes session for growing Latino arts community Local performers garner Participants included (l to r): Carolyn Comacho, Montgomery County Grammy nominations Public Schools; Olga Diaz, St. Michael and St. Patrick’s Church; Ted Resources available David, La Layenda; Susanna Nemes, Maryland State Arts Councilor; for artists, arts groups and Rosalina Delgado, Hispanic Business Federation. Polisar fans bring Having worked with Maryland’s Latino community in recent months, the Maryland new twists to old songs State Arts Council (MSAC) hosted its first Latino Arts Roundtable, Jan. 12, to discuss grant opportunities and how to best serve that community. The event was held at the Arts Council’s office, 175 W. Ostend St. in South Baltimore. “Historically, the Arts Council has been a leader among state arts agencies in gaining a broad and diverse constituency,” said Gov. Martin O’Malley. “We intend to continue that leadership by convening Latino leaders and artists in order to extend our grant programs into Maryland’s growing Latino community.” One of the goals of the Arts Council’s strategic plan, Imagine Maryland, is to recognize the state’s cultural diversity and forge connections with diverse communities. http://www.emarketingmd.org/Tourism/MSAC/Newsletter/January_10/Index.html (1 of 5)1/26/2012 2:10:24 PM ARTS MARYLAND Support the arts at Maryland Arts Day Hundreds of arts advocates are expected to meet with state legislators in Annapolis, Feb. -
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. -
Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass. -
Keeping the Tradition by Marilyn Lester © 2 0 1 J a C K V
AUGUST 2018—ISSUE 196 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM P EE ING TK THE R N ADITIO DARCY ROBERTA JAMES RICKY JOE GAMBARINI ARGUE FORD SHEPLEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2018—ISSUE 196 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : ROBERTA GAMBARINI 6 by ori dagan [email protected] Andrey Henkin: [email protected] Artist Feature : darcy james argue 7 by george grella General Inquiries: [email protected] ON The COver : preservation hall jazz band 8 by marilyn lester Advertising: [email protected] Encore : ricky ford by russ musto Calendar: 10 [email protected] VOXNews: Lest We Forget : joe shepley 10 by anders griffen [email protected] LAbel Spotlight : weekertoft by stuart broomer 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, Mark Keresman, Marilyn Lester, Miscellany 31 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, Event Calendar 32 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mathieu Bélanger, Marco Cangiano, Ori Dagan, George Grella, George Kanzler, Annie Murnighan Contributing Photographers “Tradition!” bellowed Chaim Topol as Tevye the milkman in Fiddler on the Roof.