DOCSLIB.ORG

Morgenstern, Dan. [Record Review: the Chicagoans, 1928–1930

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Morgenstern, Dan. [Record Review: the Chicagoans, 1928–1930 '..l&e occasionally more shadow than sub_stance roast our pup br ethr~n for shamelessly t~ is to be expected, of course, but m the pandering to ba:e musical tastes, for t~eir ,~ The main it holds up well under . repeated pecuniary pursmt_ of the novel, the g1m- .~ playing. Everyone connected with these mick, the cute title, the catchy sound- 1t-l sessions has every reason to be proud, for using anything, in _short, w~ich ~ill ~~ Giants titillate record buyers mto partmg with . for the assignments have been executed 1 their dollars. (It's significant, I think, that ~;ii are still on with taste and professionalism. I for one am delighted to see Montgomery garner it's referred to as "money music" in the 'In such a popular following as these sele~­ aptly-named trade journal Cash Box.) !i PRESTIGE! But when some of our boys engage in ' --- -· ~--------- -·--···-- --- tions have brought him. He deserves . ,t. -Welding the production of music which is similarly :~ contrived, more often than not we either fffi find some means of justifying it or simply 'N lllCEOARITHE CEDAR WIILTON TRIO, QUMH(T i;. auu,rtr KENNYDORHAM, JUNIOR COOt(. lEROY VINNfGAR. Bll.L'f HIGGINS turn our backs on it. H's apparently all Lee Morgan :j '~ DELIGHTFULEE MORGAN-Blue Note 4213/ right when we do it. , 84243, Ca-Lee-So; Zambia;. Yesterday; . Sunrise­ The guys on this record bring a great :'' Sunset· Nite Flite· The Delightful Veggie. deal of expertise and elan to the discharge Pers~nnel: Mo:gan, trumpet; Joe ~endersonh, i: tenor saxophone; McC~y . Tyner, piano; Bo of the business at hand, but what, after Ju Cranshaw bass· Billy H1gg10s, drums. Trackk 3 all is that business but the attempt at .ri & 4 • Mo~gan 'Ernie Rova!. trumpets; Tom c­ Intosh tromb~ne· Jim Buffington, French horn; cr~fting a sample of "soul" music which ·p Phil 'woods, a'!to saxophone, flute; W_ayne will be enough like all other samples of 1 Shorter, tenor saxophone; D~nny Bank, har!ton~ saxophone flute bass clarinet; Tyner, piano, the genre yet will have some slight differ- ,, Cranshaw,' bass; 'Philly Joe Jones, drums. ence-some catchy turn of phrase, sound, i Rating: * * * * * or coy title-that will cause jukebox play. !I From his "enfant terrible" days of a ers or radio record spinners to play this CEDARWALTON/PRESTIGE 7519 decade ago with Dizzy Gillespie to his particular soul piece rather than the count­ thoroughly mature stature today, brazen less others currently available? energy and perpetual emotion have cas­ The music here is neither good nor caded from the bell of Lee Morgan's horn. bad; mostly it's just inoffensive, moves Ca-Lee-So features a loping calypso ac­ pleasantly and doesn't make any demands cent in the theme, with Tyner introducing upon the listener. If he wants to listen to the happy proceedings. Morgan and Hen­ it, he'll hear music with attractive sur­ derson solo succinctly, and Tyner follows faces, good rhythmic interplay and a cer­ with a solo showing his fine flexibility. tain superficial contemporaneity of sound. FOR FREECATALOG SEND TO Zambia is set at an up tempo pace. He'll not find depth or commitment, how­ PRESTIGE Records Inc. After the hea.d, Henderson takes charge, ever, for that's not what this music offers. going on an exhilarating excursion. M?r­ Mostly it's for nonlistening-for talking 203 So. Washirigton Ave. gan sustains the soaring spirit. Followmg over at a club or party, dancing, etc. Bergenfield, New Jersey Tyner's appropriate solo, Morgan and What's saddening about this particular Henderson engage ih jovial eight-bar ex­ set is that the hoped-for commercial suc­ changes. cess probably will not materialize. The Getthe new cymbal sound from For Yesterday and Sunrise, Sunset, music is not all that catchy. Oliver Nelson provides plush orchestral Naturally, there are some tasty mo­ settings to showcase the enthusiastic Mor­ ments-there'd pretty much have to be gan and Shorter. The latter piece contains with musicians of this caliber involved. PASHAiSUPERSONIC especially stirring moments from the But the flowers are scattered over some soloists. thin soil and there aren't that many of On Nite Flite Morgitn impishly teases them. There is one good tune, Ousley's and cajoles with characteristic frenzy, and The Latter Days, which sounds like a Henderson maintains the contagious ex­ piece that might have been performed by citement with throaty chortles and double­ an early Art Blakey group--it's got that stop effects. Tyner, not to be outdone, kind of feeling to it. This is the only dips into his bag of tricks and with the piece that breaks out of the soul mold. The sound today's drummers want. splendid backing of Higgins and Cran­ Superior Turkish type. Compare with Onward and upward! Please? shaw turns in a highly dynamic per­ -Welding the ones that cost twice as much. formance. See your favorite dealer. Deggie is done in a comfortable waltz TROPHYMUSICAL PRODUCTS meter. Henderson, Morgan, and Tyner are adroit in weaving the image and the Various Artists 1278 West 9th Street, Cleveland, Ohio 44113 THE CHICAGOANS (1928-1930)-Decca DL tune swings along in jovial fashion. 9231: Milenberg Joys; My Daddy Rocks Me Spacious, relaxed atmosphere, the bal­ (Husk O'Hare's Footwarmers); There'll Be Some Changes Made; I Found a New J!aby; anced selection of the repertoire, and the Baby, Won't You Please Come Home (Chicago ADIFFERENT KINDOf RECORD CLUB cohesiveness of the performers are the Rhythm Kings); Jazz Me Blues (Frank Tesche· witha SpecialMembership Plan ... macher); Downright Disgusted; Fare Thee W'_elf rewards offered in this album and the Trying to Stop My Crying; Isn't There _a LiCtltb FeaturingJAZZ offerings are true-Lee delightful. Love to Spare (Wingy Manone and his ~ Also,Popular, Folk, Classical, etc. -Johnson Royale Orchestra); Copenhagen; Prince of Wat)ls No purchaseobligations-No list (Elmer Schoehel's Friars Society Orchestra ; pricepurchases. Virtually all labels W ailin' Blues; Barre/house Stomp (The Cellar Boys). w· gy and artists available.Choose from Collective personnel: Muggsy Spamer, 10 catalog of over 25,000 albums. Grassella Oliphant Manone, Dick Feige, cornet; Jack Read, trotn· Writefor freedetails .•• THE GRASS IS GREENER-Atlantic 1494: bone; Frank Teschemacher, Bud Freeman, Mezz Get Out of My Life, Woman; Ain't That Mezzrow, Rod Cless, Wade Foster, Floyd Towne, Peculiar?; Soul Woman; Peaches Are Better George Snurpus, reeds; Joe Sullivan, Art hHodhej• Down the Road; The Yodel; Cantaloupe Wom­ Jack Gardner, Frank Melrose, Elm~r S~ oe e • an: The Latter Days; Rapid Shave. piano; Eddie Condon, banjo; Ray B1ond1, fhbt· Personnel: Clark Terry, trumpet, fluegelhorn, lie Barger, guitar; Jim Lanigan, Jo!'n u ; pocket trumpet; Harold Ousley, tenor saxophone; bass, tuba; Gene Krupa. George_ Wetthng, Aug1 DOWN BEAT/MARCH21 Grant Green, guitar; John Patton, organ; Major Schellange, drums; Red McKenzie, vocal. Holley, bass; Oliphant, drums. Rating:**** PERCUSSIONISSUE Rating:** Justly, this album is subtitled "Frank ON SALEMARCH 7 What's sauce for the goose ought, of Teschemacher His Influence." The name course, to be sauce for the gander. We of Teschemacher may mean little or noth- 30 □ DOWN BEAT . g to the current generation of jazz en­ beat it was to keep. thusiasts,JO but to many o Id er f ans, "T esch" Jazz Me is taken from a test pressing as a hero; a legend. His untimely acci­ that miraculously survived an unissued :ental death at 26 in March 1932, a little date featuring an all-reeds-and-rhythm more than six months after that of Bix lineup. The reedmen are Tesch and Rod Beiderbecke, marked the ~nd of an era Cless on clarinets and altos, and Mezz and cut down a great promise. on tenor. Tesch takes alto and clarinet Tesch played the clarinet (and occa­ choruses, both good, and there is a short sional saxophone), and was associated with glimpse of Cless-one of the unsung that talented bunch of yo~ng whit_e Chi­ heroes of the bunch. ca«oans in search of the Jazz grail who Trying and Little Love are sprightly w:re to become known as "The Austin versions of pop tunes, with Manone's New High Gang." On this record, in Decca's Orleans horn and jazz vocals ,to the fore. new reissue series, some of the best in his Tesch has fine solos on both; he impro­ small but significant recorded legacy of vises, especially on the former, and he some 25 sides is once again made avail­ seems relaxed here. There is also a brief able, alongside some oddments of the glimpse of young Art Hodes, who does period which will be gobbled up by col­ very well in the ensembles, and already lectors due to their extreme rarity, though had the makings of a very personal style. they are musically disappointing. One of Tesch's very best solos occurs Tesch is present on all but four of the in the Schoebel Wails; more like his idol, 14 tracks. The Chicago Rhythm Kings Jimmy Noone, than any other he re­ sides are among the most famous of the corded, and very relaxed, flowing, and school, recorded in April and May of rhythmically free. Curiously, this date was 1928. The Cellar Boys session was the last more arranged and organized than the Tesch made, and the final installment in others, but Wettling's good drums and the recorded saga of authentic Chicago Barger's nice guitar moved the beat along Style (they were cut in January 1930). smoothly. Feige's cornet is in a Bix Disputes used to rage among critics as groove, especially on Copenhagen, one of to whether there was such a thing as Chi­ the favorite "jam" tunes of the period.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Sòouünd Póetry the Wages of Syntax
    SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf.
    [Show full text]
  • Lou Donaldson the Natural Soul Mp3, Flac, Wma
    Lou Donaldson The Natural Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Natural Soul Country: US Released: 1986 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1767 mb FLAC version RAR size: 1621 mb WMA version RAR size: 1543 mb Rating: 4.2 Votes: 259 Other Formats: MP3 VOC WMA MP4 DTS DXD AA Tracklist Hide Credits Funky Mama A1 9:05 Written-By – John Patton Love Walked In A2 5:10 Written-By – George & Ira Gershwin Spaceman Twist A3 5:35 Written-By – Lou Donaldson Sow Belly Blues B1 10:11 Written-By – Lou Donaldson That's All B2 5:33 Written-By – Alan Brandt, Bob Haymes Nice 'N Greasy B3 5:24 Written-By – Johnny Acea Companies, etc. Copyright (c) – Manhattan Records Phonographic Copyright (p) – Manhattan Records Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Alto Saxophone – Lou Donaldson Design [Cover] – Reid Miles Drums – Ben Dixon Guitar – Grant Green Liner Notes – Del Shields Organ – John Patton Photography By [Cover Photo] – Ronnie Brathwaite Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Trumpet – Tommy Turrentine Notes Recorded on May 9, 1962. 1986 Manhattan Records, a division of Capitol Records, Inc. Other versions Category Artist Title (Format) Label Category Country Year The Natural Soul (LP, BLP 4108 Lou Donaldson Blue Note BLP 4108 US 1963 Album, Mono) The Natural Soul (CD, CDP 7 84108 2 Lou Donaldson Blue Note CDP 7 84108 2 US 1989 Album, RE) TOCJ-7176, The Natural Soul (CD, Blue Note, TOCJ-7176, Lou Donaldson Japan 2008 BST-84108 Album, RE) Blue Note BST-84108 The Natural Soul 4BN 84108 Lou Donaldson Blue Note 4BN 84108 US 1986 (Cass, Album, RM) The Natural Soul (LP, BST-84108 Lou Donaldson Blue Note BST-84108 US 1973 Album, RE) Related Music albums to The Natural Soul by Lou Donaldson Lou Donaldson - Mr.
    [Show full text]
  • Jazz Music and Social Protest
    Vol. 5(1), pp. 1-5, March, 2015 DOI: 10.5897/JMD2014.0030 Article Number: 5AEAC5251488 ISSN 2360-8579 Journal of Music and Dance Copyright © 2015 Author(s) retain the copyright of this article http://www.academicjournals.org/JMD Full Length Research Paper Playing out loud: Jazz music and social protest Ricardo Nuno Futre Pinheiro Universidade Lusíada de Lisboa, Portugal. Received 4 September, 2014; Accepted 9 March, 2015 This article addresses the historical relationship between jazz music and political commentary. Departing from the analysis of historical recordings and bibliography, this work will examine the circumstances in which jazz musicians assumed attitudes of political and social protest through music. These attitudes resulted in the establishment of a close bond between some jazz musicians and the Civil Rights Movement in the 1950s and 1960s; the conceptual framing of the free jazz movement that emerged in the late 1950s and early 60s; the use on non-western musical influences by musicians such as John Coltrane; the rejection of the “entertainer” stereotype in the bebop era in the 1940s; and the ideas behind representing through music the African-American experience in the period of the Harlem Renaissance, in the 1920’s. Key words: Politics, jazz, protest, freedom, activism. INTRODUCTION Music incorporates multiple meanings 1 shaped by the supremacy that prevailed in the United States and the principles that regulate musical concepts, processes and colonial world3. products. Over the years, jazz music has carried numerous “messages” containing many attitudes and principles, playing a crucial role as an instrument of Civil rights and political messages dissemination of political viewpoints.
    [Show full text]
  • Concert: Ithaca College Jazz Workshop Tuesday-Thursday Jazz Lab
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 12-5-2003 Concert: Ithaca College Jazz Workshop Tuesday-Thursday Jazz Lab Steve Brown Steve Wilson Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Tuesday-Thursday Jazz Lab; Brown, Steve; and Wilson, Steve, "Concert: Ithaca College Jazz Workshop" (2003). All Concert & Recital Programs. 2900. https://digitalcommons.ithaca.edu/music_programs/2900 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE JAZZ WORKSHOP Tuesday-Thursday Jazz Lab Steve Brown, musical director Steve Wilson, guest saxophone soloist Mean What You Say Thad Jones Rhythm-A-Ning Thelonious Monk Arr. Ryan Socrates Jessica's Day Quincy Jones The Dolphin Luis Eca Arr. Ray Brown Fantasy in "D" Cedar Walton Arr. Rufus Reid INTERMISSION There Will Never Be Another You Warren/Gordon Arr. Ray Brown Lisa Victor Feldman Arr. Yvonne Darancou A Joyful Noise Steve Wilson A Penthouse Dawn Oliver Nelson Willow Weep For Me AnnRonell Arr. Phil Woods Ford Hall Friday, December 5, 2003 8:15 p.m. Called by the Palm Beach Post "flawless, gifted with fabulous technique and a first-rate sense of what's musical," Steve Wilson has performed and recorded with the greatest names in jazz. A sampling of the musicians he has worked with includes Chick Corea, Dave Holland, Dianne Reeves, O.T.B., Donald Brown, Billy Childs, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller.
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • Educational Materials to Go with the Video & Extra Materials For
    Educational Materials to go with the Video & extra materials for preparation and extension of the concert Prepared by Valerie Trollinger ([email protected], or [email protected] ) October 2012 Discovery Concert Series The Science of Sound Reading Symphony Orchestra Discovery Concert Series October, 2012 The Thrill of Resonance (Grades 4 , and above; Grade 3 with help) Teacher Quick-Start Guide The video is the second one in our sequence about the Science of Sound. There are three (3) ways to use this series at this point: 1) For students to get the full benefit of the science behind the sounds, then viewing the first video “The Science of Sound” is strongly recommended. a. Show the first video in the sequence (The Science of Sound) with the accompanying worksheet, go over the worksheet as needed. When the students are familiar with the meaning of the words Frequency, Amplitude, Time, Dynamics, and the rest of the terms on the worksheet, then go on to the second video (The Thrill of Resonance) with that accompanying worksheet. From there you can continue with activities that are relevant to your curriculum. There are a lot of other activities that go with both of these videos, addressing STEM technology ( adding the arts ) and building on creative thinking, problem solving, critical thinking, reading, writing, and even engineering. 2) If you don’t have time for the first video at this point and want to only show the second-- a) The students still need to be familiar with the terms Frequency, Amplitude, and Time. Definitions will follow in the teacher pack.
    [Show full text]
  • Leadership, Teamwork, Innovation and All That Jazz
    ENABLING COLLECTIVE IMPROVISATION ADRIAN CHO in AGILE SOFTWARE DEVELOPMENT “Modern Business is Pure Chaos” Fast Company, January 2012 © Copyright Adrian Cho 2009-2012. All Rights Reserved. 2 THE AGILE RESPONSE Change Innovate Complexity Improvise Iterate Confusion © Copyright Adrian Cho 2009-2012. All Rights Reserved. 3 TAKING FALSE COMFORT IN RIGIDITY PREDICT Tools Technology Processes Practices © Copyright Adrian Cho 2009-2012. All Rights Reserved. 4 LEARNING FROM THE MILITARY “We know that the best equipment in the world without the right person operating it will not accomplish the mission. On the other hand, the right person will find a way to succeed with almost any equipment available.” Gen.Wayne A. Downing, Commander, U.S. Special Operations Command “People, ideas, hardware – in that order” Col. John Boyd, fighter pilot, instructor, strategist and aircraft designer The Special Operations Forces Truths 1. Humans are more important than Hardware. 2. Quality is better than Quantity. 3. Special Operations Forces cannot be mass produced. 4. Competent Special Operations Forces cannot be created after emergencies occur. Brig. Gen. David J. Baratto, Commander, JFK Special Warfare Center © Copyright Adrian Cho 2009-2012. All Rights Reserved. 5 LEARNING FROM MANUFACTURING “There is something called standard work, but standards should be changed constantly. Instead, if you think of the standard as the best you can do, it's all over. The standard work is only a baseline for doing further kaizen. It is kai-aku [change for the worse] if things get worse than now, and it is kaizen [change for the better] if things get better than now. Standards are set arbitrarily by humans, so how can they not change?” Taiichi Ohno, originator of the Toyota Production System Aim for continuous improvement Conduct regular retrospectives Beware of taking false comfort in best practices Best practices are the best...until something changes © Copyright Adrian Cho 2009-2012.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • Lee Morgan and the Philadelphia Jazz Scene of the 1950S
    A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957.
    [Show full text]
  • 2012 Festival Brochure
    BOARD OF DIRECTORS Jessica Felix ARTISTIC DIRECTOR Gloria Hersch CHAIR Elizabeth Candelario VICE CHAIR Edward Flesch SECRETARY Dennis Abbe TREASURER Rollie Atkinson Randy Coleman Roy Gattinella Loretta Rosas HONORARY BOARD MEMBERS Frank Carrubba Doug Lipton Circe Sher GENERAL COUNSEL James DeMartini PROGRAM NOTES David Rubien NEA Jazz Masters is a program of the DESIGN National Endowment of the Arts in Ranch7 Creative partnership with Arts Midwest. PRINTING Healdsburg Area Fund Barlow Printing Healdsburg Rotary Club Healdsburg Sunrise Rotary Club Kiwanis Club of Healdsburg Tompkins/Imhoff Family Fund Steinway Pianos provided by Sherman Clay, San Francisco FRIDAY 6/1 TUESDAY 6/5 SATURDAY 6/9 Calvin Keys Organ Quartet Azesu: Latin Rhythms, South Master Vocal Class KRUG EVENT CENTER American Folklorico & Jazz with Sheila Jordan 198 Dry Creek Road HEALDSBURG PLAZA HEALDSBURG HIGH SCHOOL (entrance on Grove Street) 6-8PM | Free 1028 Prince Avenue/Band Room 7-9PM | $20 11AM-2PM Vintage Blues on Vinyl Robb Fisher & Matt Clark Duo $50 participants | $25 to audit with David Katznelson HOTEL HEALDSBURG LOBBY Panel Discussion 7:30-11PM BERGAMOT ALLEY with the Roy-al Family 328a Healdsburg Avenue Moderated by Billy Hart 8-11PM | $10 SATURDAY 6/2 RAVEN THEATER Jazz & Wine Tasting: 115 North Street Benny Barth Trio with Randy WEDNESDAY 6/6 2-4PM | Free Jazz Night at the Movies Vincent & Chris Amberger with Mark Cantor Music, Wine & Food SEASONS OF THE VINEYARD RAVEN THEATER Cocktail Hour: Susan Sutton Trio 113 Plaza Street ACROSS FROM RAVEN THEATER
    [Show full text]