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«An Evening with Pat Metheny» Feat. Antonio Sánchez, Linda May Han Oh & Gwilym Simcock
2017 20:00 24.10.Grand Auditorium Mardi / Dienstag / Tuesday Jazz & beyond «An evening with Pat Metheny» feat. Antonio Sánchez, Linda May Han Oh & Gwilym Simcock Pat Metheny guitar Antonio Sánchez drums Linda May Han Oh bass Gwilym Simcock piano Pat Metheny photo: Jimmy Katz Pat Metheny, au-delà de la guitare Vincent Cotro « J’ai atteint un point où j’ai tant composé que tout n’est qu’une grande composition. Avec Antonio, Lina et Gwilym, nous allons explorer cette composition pour en faire, je l’espère, quelque chose de vraiment grandiose ». Pat Metheny, présentation du concert lors du festival Jazz sous les Pommiers, mai 2017 Né en 1954 dans le Missouri, Patrick Bruce Metheny découvre à onze ans Miles Davis puis Ornette Coleman et commence la guitare à douze ans, après s’être essayé à la trompette et au cor. Il écoutera et décortiquera les solos de Wes Montgomery, Kenny Burrell ou Jim Hall et se produira dès quinze ans avec les meilleurs musiciens dans les clubs de Kansas City. Alors qu’il se passionne pour John Coltrane et Clifford Brown, il rencontre Gary Burton en 1974, année de son explosion sur la scène internationale. Aux côtés du vibraphoniste, il développe ce qui deviendra sa caractéristique : une articulation plutôt relâchée et flexible habituellement observée chez les « souffleurs », combinée à une sensibilité harmonique et rythmique très développée. Son premier disque avec Jaco Pastorius et Bob Moses en 1976, « Bright Size Life », réinvente en quelque sorte la tradition sous des apparences de modernité, pour une nouvelle génération de guitaristes. On voit apparaître sa passion pour la musique d’Ornette Coleman qui se manifestera largement ensuite et jusqu’à aujourd’hui. -
Japan Loves New Orleans's Music
University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2017 Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 William Archambeault University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Oral History Commons, and the United States History Commons Recommended Citation Archambeault, William, "Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017" (2017). Senior Honors Theses. 94. https://scholarworks.uno.edu/honors_theses/94 This Honors Thesis-Unrestricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Honors Thesis-Unrestricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 An Honors Thesis Presented to the Department of Interdisciplinary Studies of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Interdisciplinary Studies, with University High Honors and Honors in Interdisciplinary Studies by William Archambeault May 2017 Archambeault i Acknowledgments This undergraduate Honors thesis is dedicated to Travis “Trumpet Black” Hill, a New Orleans trumpeter who died in Tokyo, Japan, on May 4, 2015, while touring Japan. -
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”. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
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. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
By David Kunian, 2013 All Rights Reserved Table of Contents
Copyright by David Kunian, 2013 All Rights Reserved Table of Contents Chapter INTRODUCTION ....................................................................................... 1 1. JAZZ AND JAZZ IN NEW ORLEANS: A BACKGROUND ................ 3 2. ECONOMICS AND POPULARITY OF MODERN JAZZ IN NEW ORLEANS 8 3. MODERN JAZZ RECORDINGS IN NEW ORLEANS …..................... 22 4. ALL FOR ONE RECORDS AND HAROLD BATTISTE: A CASE STUDY …................................................................................................................. 38 CONCLUSION …........................................................................................ 48 BIBLIOGRAPHY ….................................................................................... 50 i 1 Introduction Modern jazz has always been artistically alive and creative in New Orleans, even if it is not as well known or commercially successful as traditional jazz. Both outsiders coming to New Orleans such as Ornette Coleman and Cannonball Adderley and locally born musicians such as Alvin Battiste, Ellis Marsalis, and James Black have contributed to this music. These musicians have influenced later players like Steve Masakowski, Shannon Powell, and Johnny Vidacovich up to more current musicians like Terence Blanchard, Donald Harrison, and Christian Scott. There are multiple reasons why New Orleans modern jazz has not had a greater profile. Some of these reasons relate to the economic considerations of modern jazz. It is difficult for anyone involved in modern jazz, whether musicians, record -
BJA Founder Barry Glassman Leaving B'more
April 2017 BJA Founder Barry Glassman Leaving B’more ........................................ 1 BALTIMORE JAZZ ALLIANCE Jazz Jam Sessions ........................................................................................ 2 Interview with Bassist/Composer Linda Oh ............................................. 4 Derrick Michaels: The Evolution of a Jazz Musician ............................... 7 Terry Koger Quintet at Mid-Atlantic Jazz Festival .................................... 8 BJA Member Notes, Benefits, Reviews, Post your events .................... 10 Ad Rates and Member Sign-up Form ...................................................... 11 APRIL 2017 VOLUME XIII ISSUE IV THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM BJA Founder Barry Glassman Leaving B’more By Bob Jacobson ost retirees who leave Baltimore head for warmer climes. BJA founder Barry Glassman, who recently M shocked many with news of his impending move, is no exception. But Barry will not be moving to Florida or Arizona. At the end of April, Barry and his wife Dee will be moving to Cascais, Portugal! When Barry arrived here in the 1990s from New York City, no one could tell him where to hear his beloved jazz and blues. He eventually found the music on his own and was struck by the enormous talent as well as the struggling ven - ues. Always trying to find solutions to problems, as he had already done in his neighborhood, Butchers Hill, Barry cre - ated an online jazz calendar. Before long, jazz musicians and PHOTO COURTESY OF BARRY GLASSMAN venue owners began posting their performances. In 2003, Barry convened a meeting of musicians, venue owners, writ - retirement, Barry left the BJA board and his post as treasurer ers, DJs and others to discuss the state of jazz in the Baltimore but stayed on as webmaster; he continued to send e-blasts to area. -
Fabian Almazan
Fabian Almazan Pianist and composer Fabian Almazan, a native of Cuba now residing in New York City, found his musical roots as a child in his homeland of Havana where he first became involved in the classical piano tradition. When his parents could not afford to pay for private piano lessons, having fled Cuba in political exile to Miami, FL, pianist Conchita Betancourt was gracious enough to impart free lessons for over three years. Thanks to Mrs. Betancourt's generosity, Fabian was able to audition for the New World School of the Arts High School in Miami, FL, where he studied from 1998 to 2002. In 2002, Fabian was selected for the piano chair in the National 2002 Grammy High School Jazz Combo. The following year, Almazan won the piano chair for the newly up and running Brubeck Institute fellowship program based in northern California where he studied with Mark Levine and performed with Dave Brubeck and Christian McBride. In 2003, Fabian moved to New York City to study with Kenny Barron at the Manhattan School of Music. During the completion of his bachelor's degree, Almazan immersed himself in the realm of orchestral composition, studying instrumentation and orchestration with Mr. Giampaolo Bracali. Under Mr. Bracali's tutelage, Almazan composed several pieces for orchestra and chamber ensembles. In the spring of 2009, Fabian Almazan was named a recipient of the Michael W. Greene Scholarship and received a master's degree from Manhattan School of Music, studying alongside Jason Moran. Fabian Almazan received the Cintas Foundation 2010/11 Brandon Fradd Award in Music Composition. -
The Sound of Jazz“
Bemerkungen zu „The Sound of Jazz“ Erscheinungsjahr: 1957 Produktion: Robert Herridge Mitwirkende: Henry „Red“ Allen, Roy Eldrige, Vic Dickenson, Benny Morton, Jimmy Giuffre, Coleman Hawkins, Ben Webster, Lester Young, Earle Warren, Gerry Mulligan, Pee Wee Russell, Billy Holiday, Jimmy Rushing, Count Basie, Mal Waldron, Nat Pierce, Thelonious Monk, Eddie Jones, Ahmed Abdul-Malik, Milt Hinton, Jo Jones, Osie Johnson, Danny Barker, Freddie Green, Jim Hall, Dicky Wells u.a. DVD-Cover Vorbemerkungen: Einer der bekanntesten Jazzfilme der fünfziger Jahre des vergangenen Jahrhunderts wurde 1959 mit „Jazz on a summers day“ von Bert Stern (vgl. auch diese Webseite) gedreht. Ein wesentliches Ereignis, das live im Fernsehen 1957 gezeigt wurde und auf unzähligen VHS-Kassetten und DVDs später erschien, war die Jazz-TV-Sendung „The Sound of Jazz“ von CBS am 8.12.1957, die live aus dem CBS Studio 58 in New York übertragen Wurde. Selten wurde bis zu diesem Zeitpunkt ein Jazz-Ereignis dokumentiert, das so viele Jazz-Heroen gemeinsam zeigte. Robert Herridge, ein TV-Produzent, der eine Sendereihe mit dem Titel „The Seven Lively Arts“ entwickelte und produzierte, hatte die Idee zu dieser Sendung. Unterstützt wurde er dabei von den Jazz-Kritikern und –Autoren Nat Hentoff und Whitney Balliet, die ihr umfangreiches Wissen zur Verfügung stellten. Inhalt: In lausiger Bildqualität eröffnet die Count Basie-Allstar-Band mit dem Titel von Nat Pierce „Open All Night“. Soli spielen der Drummer Jo Jones, Tenor- Saxophonist Ben Webster, Posaunist Dicky Wells, Bariton-Saxophonist Gerry Mulligan, Trompeter Joe Newman und Bandleader Count Basie. Die Band, die für die TV-Übertragung zusammengestellt wurde, klingt kraftvoll, spritzig und wunderbar swingend, außerdem sehr präzise. -
We Are Proud to Present the Results of the 67Th Annual Downbeat
We are proud to present the results of the 67th Annual DownBeat International Critics Poll, which includes Jazz Album of the Year (page 40) and Historical Album of the Year (page 44). Nina Simone ........................... 122 Anthony Braxton ...................... 88 Pharoah Sanders ..................... 71 Charles Lloyd ........................... 69 Kenny Barron ........................... 64 Tomasz Stanko......................... 58 Paul Bley .................................. 57 Jack DeJohnette ...................... 56 Jimmy Giuffre ........................... 54 Jimmy Heath ............................ 50 John McLaughlin ..................... 47 Shirley Horn ............................. 46 Jaki Byard ................................ 41 Oliver Nelson ............................38 Yusef Lateef ............................. 37 Bobby Hutcherson ...................36 Hank Mobley ............................ 34 Grant Green.............................. 32 Carmen McRae ........................ 32 Gunther Schuller ...................... 31 Kenny Burrell ............................30 Miguel Zenón, winner of the Alto Saxophone category Kenny Barron ........................... 30 Fred Hersch Trio, Sullivan Fortner, Scott LaFaro ..........................67% JD Allen .................................... 28 Live In Europe (Palmetto) ......... 44 Moments Preserved (Impulse!) .. 22 Joe Williams ...........................67% Julian Lage ............................... 28 Charles Lloyd & The Marvels + Lionel Loueke, (Note: Artists must receive