DOCSLIB.ORG

Fall/Winter 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The NOTE Al Cohn Memorial Jazz Collection at East Stroudsburg University of Pennsylvania • Fall / Winter 2016 XXXXXXXXX • XXXXXXXXX •XXXXXXXX • XXXXXXXX In This Issue... The NOTE The NOTE contains some content that may be considered offensive. Authors’ past recollections reflect attitudes of the times and remain uncensored. Vol. 26 - No. 1 - Issue 65 Fall / Winter 2016 3 A Note from the Collection Coordinator Dr. Matt Vashlishan 4 From the Bridge The NOTE is published twice a year Su Terry by the Al Cohn Memorial Jazz Collection, East Stroudsburg University of Pennsylvania, 6 Interview with Larry Fink as part of its educational outreach program. Dr. Matt Vashlishan Editor: 16 38th COTA Jazz Festival 2015 Lauren Chamberlain Matt Vashlishan, D.M.A. Design/Layout: 20 Jerry Dodgion Interview Part 2 Jay Rattman Charles de Bourbon at BGAstudios.com ESU Office of University Relations 27 Devil May Care — for Bob Dorough ________________________________ Michael Stephans Al Cohn Memorial Jazz Collection 28 Bill Holman — A Master of Jazz Arranging and Composing Kemp Library Bill Dobbins East Stroudsburg University 200 Prospect St. 31 Dave Liebman Interview Part 2 East Stroudsburg, PA 18301-2999 Bill Kirchner [email protected] (570) 422-3828 www.esu.edu/alcohncollection East Stroudsburg University President From the Collection . Marcia G. Welsh, Ph.D. The mission of the Al Cohn Memorial Jazz Collection is to stimulate, enrich, and support research, teaching, learning, and appreciation of all forms of jazz. Cover Photo (front): Jackie McLean at the The ACMJC is a distinctive archive built upon a unique Village Vanguard, NYC. Photo by Larry Fink. and symbiotic relationship between the Pocono Mountains jazz community and East Stroudsburg University. With the support of a world-wide network of jazz advo- cates, the ACMJC seeks to promote the local and global history of jazz by making its resources available and use- ful to students, researchers, educators, musicians, historians, journalists and jazz enthusiasts of all kinds, and to preserve its holdings for future generations. Center Spread: The Dixie Gents at © 2016 Al Cohn Memorial Jazz Collection / the 2015 COTA Festival. Photo by East ________________________________Stroudsburg University Bob Weidner. East Stroudsburg University of Pennsylvania is committed to equal opportunity for its students, employees and applicants. The university is committed to providing equal educational and employment rights to all persons without regard to race, color, sex, religion, national origin, age, disability, sexual orientation, gender identity or veteran’s status. Each member of the university community has a right to study and work in an environment free from any form of racial, ethnic, and sexual discrimination including sexual harassment, sexual violence and sexual assault. (Further information, including contact information, can be found on the university’s website at: http://www4.esu.edu/titleix/.) In accordance with federal and state laws, the university will not tolerate discrimination. Cover Photo (back): Al Cohn, from This policy is placed in this document in accordance with state the ACMJC photo archives. and federal laws including Titles VI and VII of the Civil Rights Act of 1964, Title IX of the Educational Amendments of 1972, Sec- tions 503 and 504 of the Rehabilitation Act of 1973, the Ameri- cans with Disabilities Act of 1990, and the Civil Rights Act of 1991 as well as all applicable federal and state executive orders. 2 The NOTE • Fall / Winter 2016 A Note from the Collection Coordinator various programming I am try- ing to put together to support it. Zoot Fest was a great after- noon and the music was excep- tional. Bill Dobbins joined us this year for a very informative and entertaining presentation on Al and Zoot’s playing as well as to perform on piano. As if one amazing pianist wasn’t enough, Don Friedman attended and performed, thus participating in his very first Zoot Fest. The panel discussion was entertain- ing and informative as always, the performances were absolute- ly first rate, and the food was Photo courtesy Louise Sims Fran Kaufman extraordinary! Zoot wearing a Halloween mask at Lake Buena By Dr. Matt Vashlishan Over the past few years Vista around 1978. working with the Al Cohn find myself writing this installment Memorial Jazz Collection I have had jazz events) an underlying sense after cleaning up from another the opportunity to meet and develop of mourning due to the loss of yet Iwonderful Zoot Fest. Everyone relationships with several people, another cornerstone of music in the had a great time, and it was nice to one of which is a wonderful woman Poconos and around the world, Phil see some familiar faces and of course who was married to Zoot: Louise Woods. The next issue of The Note will some new faces too. I would like to Sims. We were discussing some of be dedicated entirely to Phil, and it thank all the staff and departments her favorite memories of Zoot dur- will without a doubt be something involved at ESU for pulling off an- ing the planning stages of the recent very special to me and hopefully to other great event, and especially ESU Zoot Fest, and both Zoot and Al all of you as well. Phil’s discography President Marcia G. Welsh, Ph.D. for would have been 90 years old at the speaks for itself, but he was (as well her continued support of the Al Cohn time of this writing in 2015. She sent as an unbelievable musician and com- Memorial Jazz Collection and the me a few photos that poser) a very dear friend and mentor show Zoot in a differ- of mine and will be deeply missed by ent light away from the everyone in the Pocono jazz commu- horn and having a little nity as well as worldwide. bit of fun. These photos Those of you who pay close at- didn’t make it into the tention to the layout of the magazine Zoot Fest program, so might be missing the bottom banner I thought it would be on the front cover. The cover photo fun to show them here. used for this issue is from the bril- The first is from Hal- liant photographer Larry Fink and I loween around 1978 at gave up the preview banner to include Lake Buena Vista when his photo in the proper dimensions he decided to jump up because it’s worth it! It is my absolute on stage to play wearing pleasure to showcase his work and a a mask! The second is a bit of his life story in this installment. shot of Zoot with what Larry is a great person and it was a Louise called his “pride pleasure working with him and his and joy,” his first beef- staff. steak tomato. Appar- I would also like to thank Su ently he was quite fond Terry, Erica Golaszewski, Lauren of gardening. Chamberlain, and Jay Rattman for all While not spoken about of their help with this issue and oth- ers down the road. As always, enjoy! Photo courtesy Louise Sims openly, there was (as Zoot and his pride and joy… his first beefsteak tomato! there tends to be these days with most annual Fall / Winter 2016U • The NOTE 3 Su Terry From The Bridge James Richard by Su Terry “No problem,” I replied. “First you’ll go to the lug- “When you’re 15 years old, art is very dangerous. gage carousel in Baggage Claim at LaGuardia Airport. That’s what art is supposed to be. It’s supposed to be a Next, you’ll go to the Bronx Zoo.” gigantic edifice that you’re afraid to enter. That was the “Okay,” he said. way I felt. Still feel that way to a certain extent.” Without further ado, let us proceed to Monsieur Du –Phil Woods, 2009 Bois’ favorite genre-du-jour: The Road Story. BAGGAGE CLAIM COUP D’ETAT t won’t be easy to fill in the gap left by Phil in the Gap. Phil wrote his column for 26 years. I’m sure you On a recent flight from O’Hare to LaGuardia, the pilot I noticed he was no slouch as a writer. And the content! mentioned we would be arriving early in New York. I de- But I’m gonna chomp down like a pit bull, by gum. tected a hint of braggadocio in his voice. “Damn the trade (Truth be known, taking over Phil’s column in The winds! Full speed ahead!” We did, indeed, arrive 20 Note is my birthright. Birthright, you say? minutes before schedule. The only problem was, someone Why, yes. Phil was born in Springfield, Massachusetts, forgot to tell the luggage. and SO WAS I.) There we waited, the weary travelers from Flight 354, Before embarking on today’s narrative journey, let’s at the luggage carousel in LaGuardia’s luxurious Baggage clear the literary palette by stating the obvious: all writ- Claim area. It was the usual scene–vultures circling and ers have an agenda. Whether we express it with comedy, plotting their line of attack, lesser birds hovering in the tragedy, or something in between, we want the reader to outer periphery lest their plumage, or other vital parts, be chew on our words. (One hundred times isn’t necessary. damaged in the onslaught. Fifty will do fine–if you masticate too much, you’ll go We waited. And waited. Where oh where was my blind.) My agenda is somewhat varied, and in the interest carrion–I mean suitcase? of clarity let me tick my top topics, so readers know what To pass the time, I began to construct an algorithm they will find henceforth in From The Bridge columns: in my head.
Recommended publications
  • December 1992

    December 1992

    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
  • Bob Dylan Bob Dylan's 50Th Anniversary Collection: 1965 Mp3, Flac, Wma

    Bob Dylan Bob Dylan's 50Th Anniversary Collection: 1965 Mp3, Flac, Wma

    Bob Dylan Bob Dylan's 50th Anniversary Collection: 1965 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues / Folk, World, & Country Album: Bob Dylan's 50th Anniversary Collection: 1965 Country: US Released: 2015 Style: Folk Rock, Blues Rock, Rhythm & Blues MP3 version RAR size: 1115 mb FLAC version RAR size: 1121 mb WMA version RAR size: 1812 mb Rating: 4.2 Votes: 997 Other Formats: WAV VOC MP1 TTA MIDI VQF ASF Tracklist February 17, 1965 (Les Crane Show, WABC-TV Studios, New York City, New York) 1 It’s All Over Now, Baby Blue 4:24 2 It’s Alright, Ma (I’m Only Bleeding) 7:25 March 27, 1965 (Santa Monica Civic Auditorium, Santa Monica, California) 3 To Ramona 4:22 4 Gates of Eden 7:13 5 If You Gotta Go, Go Now 2:11 6 It’s Alright, Ma (I’m Only Bleeding) 7:34 7 Love Minus Zero/No Limit 4:04 8 Mr. Tambourine Man 5:27 9 Don’t Think Twice, It’s All Right 3:27 10 With God On Our Side [incomplete] 1:22 11 She Belongs To Me 3:36 12 It Ain’t Me, Babe [incomplete] 1:10 13 The Lonesome Death of Hattie Carroll [incomplete] 0:20 14 All I Really Want To Do 2:22 15 It’s All Over Now, Baby Blue 4:41 April 30, 1965 (The Oval, City Hall, Sheffield, England) 16 The Times They Are A-Changin' 3:25 17 To Ramona 4:24 18 Gates of Eden 6:58 19 If You Gotta Go, Go Now 2:54 20 It's Alright, Ma (I'm Only Bleeding) 8:02 21 Love Minus Zero/No Limit 4:36 22 Mr.
  • Booker Little

    Booker Little

    1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz.
  • JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014

    JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014

    From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines.
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275

    Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275

    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters

    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
  • JUKEBOX JAZZ by Ian Muldoon* ______

    JUKEBOX JAZZ by Ian Muldoon* ______

    JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller.
  • Guide to the Bill Holman Collection

    Guide to the Bill Holman Collection

    Guide to the Bill Holman Collection NMAH.AC.0733 Scott Schwartz, Ann Kuebler, and Pam Kirby 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Music Manuscripts, 1952 - 1999.............................................................. 4 Series 2: Photographs and Business Records, 1975-1997.................................... 28 Bill Holman Collection NMAH.AC.0733 Collection Overview Repository: Archives Center, National Museum of American History Title: Bill Holman Collection Identifier: NMAH.AC.0733 Date:
  • Jazzletter Jujy 1936, VOI

    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.
  • Gerry Mulligan Discography

    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”.
  • Changemakers: Biographies of African Americans in San Francisco Who Made a Difference

    Changemakers: Biographies of African Americans in San Francisco Who Made a Difference

    The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors.
  • Academiccatalog 2017.Pdf

    Academiccatalog 2017.Pdf

    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional