Mel Lewis Collection Finding Aid (PDF)
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Ready Rudy? Full Score
Jazz Lines Publications Presents ready rudy? Arranged by duke pearson transcribed and Prepared by Dylan Canterbury full score jlp-7333 Music by Duke Pearson Copyright © 1965 Gailancy Music International Copyright Secured All Rights Reserved Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Estate of Duke Pearson. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke pearson series ready rudy? (1966) Background: Duke Pearson was an important pianist, composer, arranger and producer during the 1960s and 1970s. He was born in Atlanta, Georgia in 1932 and played trumpet as well as piano with many local groups. After attending Clark College, he toured with Tab Smith and Little Willie John before he moved to New York City in January of 1959. Donald Byrd heard him, and Byrd was the leader of Pearson’s first recording session. Soon Pearson was playing with the Benny Golson-Art Farmer Jazztet. Pearson became the musical director for Nancy Wilson, as well as continuing to tour and record with Donald Byrd. In 1963, Blue Note Records producer and musical director Ike Quebec passed away, and Pearson became Blue Note’s A&R director, as well as make his own albums. Grant Green, Stanley Turrentine, Johnny Coles, Blue Mitchell, Hank Mobley, Bobby Hutcherson, Lee Morgan and Lou Donaldson all benefited from his arranging and producing skills. Albums that Pearson recorded under his own name ranged in instrumentation from trios to quintets, sextets and octets to choral ensembles. -
Morgenstern, Dan. [Record Review: Thad Jones & Mel Lewis: Live at the Village Vanguard] Down Beat 35:8 (April 18, 1968)
Records are reviewed by Don DeMicheal, Gilbert M. Erskine, Kenny Dorha m, Barbara Gardner, Bill Mathieu, Marian McPartland, Dan Mor 11e nslar Bill Quinn, Harvey Pekar, William Russo, Harvey Siders, Pete Welding, John S. Wilson, and Michael Zwerin. Reviews are signed by !lie Wr't n, I ers Ratings are : * * * * * excellent, * * * * very good, * * * good, * * fair, * poor . ' When two catalog numbers are listed, the first is mono, and the second is stereo . times (especially on Yellow Days) · his Thad Jones-Mel Lewis •- •- -. ... touch is uncannily close to the master 's. LIVE AT THE Vl.LLAGB VANGUA.ll." Solid S1A1e SS l80l6: L/lflc Pi:<lo ll; ,1 "/l'v..,. BIG BANDS Two ringers were brought in to beef up l'reodom; Barba l'eo/i11'; Do11'1 Git Sn1ty• tltl•, /0111 Tree; Samba Co11 Gde/m. ' "' 1I. Duke Ellington the trumpet section, currently the ban.d's weakest link. Everybody was on best be Personnel: Jone1, flu·cgelhoro; Snooky y 0 SOUL CALL-Verve V/V6·870l: La Pim Bell• Jimmy No1tingb3m, Marvin Stamm, Rkfiard ~•• Af.-i&11l11r;IVett litdia11 Pa11caltt; Soul C111/;Slti11 Jiavior, it seems-the band sounds tight Iiams, Bill Berry. trumpets; Bob Brool<o, II, Du/I; Jan, Will, Sm11. and together at all times. The superb ·re Garnett Bl'owo, Tom Mclmo,h, Cliff fi~a~yer, Personnel: Cnt Anderson, Herbie Jones, Cootie irombones; Jerome Richnrdson, Jerry Dad !>tr, \Villla 'ms. M,rccer I!llingron. uumpors; Buster cord ing brings out the foll flavor of the Joe Parcell, '.Eddie Daniels, -Pepper Adams r~t• lloiaod Hannn piano; Sam Herm an, • IM • Cooper, Lawrence Brown, Chuck Connors , rrom• magnificent Ellington sound; the reeds, in 1 bonci.: Russell Procope. -
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: -
Thad Jones Discography Copy
Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr. -
John Beasley
JOHN BEASLEY GRAMMY-NOMINEE PIANIST / COMPOSER / ARRANGER ******************************************************************************************* “Beasley, the one-time keyboardist for Freddie Hubbard and Miles Davis, reflects a variety of generational influences, incorporating the emphatic chordal clusters of Herbie Hancock, the rhythmic quirkiness of Monk and the lush intelligence of Art Tatum into a highly refined personal voice.” --Los Angeles Times ******************************************************************************************* BIOGRAPHY Grammy-nominated recording artist John Beasley’s music career spans three decades. LA Times jazz critic Bill Kohlhaasee describes Beasley’s music and playing as "a variety of generational influences, incorporating the emphatic chordal clusters of Herbie Hancock, the rhythmic quirkiness of Monk and the lush intelligence of Art Tatum into a highly refined personal voice.” His credits cross the spectrum of the entertainment world: performing, recording, and touring with major jazz, pop, and world artists; composing for hit-TV series; arranging for ensembles and orchestras; working on award-winning films and commercials. With the popularity of reality singing TV shows, Beasley has taken the helm as Music Director for major studio shows. Highlights of Beasley’s multi-track career include: • Pianist/Keyboardist for Miles Davis, Freddie Hubbard, Chaka Khan, Carly Simon, Christian McBride, Dianne Reeves, Kenny Garrett, Stanley Clarke, Lee Ritenour, even a stint with James Brown, Barbra Streisand, -
Boston Globe, March, 2006
The Boston Globe March 17, 2006 She breaks down musical boundaries Luciana Souza sings with no fear, winning respect of her peers Three of Luciana Souza's four most recent CDs have earned her Grammy nominations, including ''Duos II," which this year was edged out for best jazz vocal album by Dianne Reeves and the ''Good Night, and Good Luck" soundtrack. But Souza's not a big star yet by any means. What popularity she has remains largely confined to the jazz cognoscenti and her fellow musicians, the latter of whom seem uniformly to adore her. High on the list of things they admire about Souza is her willingness to take risks. Consider the rapid-fire unison lines she sings with guitarist Romero Lubambo on ''Duos II," the album they'll likely draw heavily from in their Bank of America Celebrity Series double bill with Joe Lovano tomorrow night at Sanders Theatre. Souza, 39, and Lubambo have been playing together for a decade. But while they've built up a large repertoire of material over the years, they rarely have occasion to practice together beyond sound checks. It can sometimes come back to haunt them in concert, Souza admits. ''We have a way of doing them that hopefully comes out clean," Souza explains, laughing. ''Some nights we get into trouble, but even that is exciting for the audience. You try your best, and sometimes it succeeds. Sometimes we fail miserably, and we go back and go, 'Here we go one more time,' and just try again in front of people. -
The City University of New York Committee on Academic Policy, Programs and Research
THE CITY UNIVERSITY OF NEW YORK COMMITTEE ON ACADEMIC POLICY, PROGRAMS AND RESEARCH AGENDA April 6, 2017 I. Action Items A. Approval of the minutes of the February 6, 2017 meeting B. Policy Calendar 1. Brooklyn College – MM in Global and Contemporary Jazz 2. Medgar Evers College – Establishment of the Department of Social Work 3. Brooklyn College – Resolution to Award an Honorary Degree at the College’s Commencement a) Bernard Sanders – US Senator representing the state of Vermont Degree: Doctor of Humane Letters 4. Hunter College – Resolution to Award an Honorary Degree at the College’s Commencement a) Arthur Elgort ’64 – Influential fashion photographer Degree: Doctor of Fine Arts 5. CUNY School of Law - Resolution to Award an Honorary Degree at the School’s Commencement a) Sherrilyn Ifill – President and Director – NAACP – Legal Defense and Education Fund Degree: Doctor of Law 6. The College of Staten Island - Resolution to Award Honorary Degrees at the College’s Commencement a) Margaret Ricciardi ’86 – Artist and benefactor Degree: Doctor of Arts b) Andy Shih, Senior Vice President, Public Health and Inclusion at Autism Speaks, NY Degree: Doctor of Science c) Deidre DeAngelis, Principal of New Dorp High School Degree: Doctor of Humane Letters d) Peter and Robin Jovanovich, College Benefactors Degree: Doctor of Humane Letters 7. CUNY Graduate School of Public Health and Health Policy - Resolution to Award an Honorary Degree at the School’s Commencement a) Chirlane McCray, First Lady of New York City and Mental Health Advocate Degree: Doctor of Science 8. Graduate School and University Center - Resolution to Award Honorary Degrees at the School’s Commencement a) Vanita Gupta, former Principal US Deputy Assistant Attorney General Degree: Doctor of Humane Letters b) Wael Shawky, artist Degree: Doctor of Humane Letters c) Lord Nicholas Stern, Chair of the Grantham Research Institute on Climate Change and the Environment Degree: Doctor of Humane Letters 9. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Program of the 2015-16 Season ______Jazz Studies Department
JAZZCELEBRATION INAUGURAL IU JAZZ ALUMNI HALL OF FAME Featuring IU Jazz Faculty & Student Big Band, & Plummer Jazz Sextet Saturday, April 23 | 8pm | Musical Arts Center Sponsored by JACOBS SCHOOL OF MUSIC Indiana University Bloomington A Message from Tonight’s Sponsor Old National Wealth Management Old National Wealth Management (ONWM) is jazzed to sponsor the inaugural IU Jazz Alumni Hall of Fame and to support the Indiana University Jacobs School of Music. At Old National Wealth Management, we are proud to be a part of this annual presentation of timeless music and feature world- renowned musicians. Thank you for joining us this evening, and we hope you have a wonderful time. About Old National Wealth Management At Old National Wealth Management, we manage money for people with more important things to manage. Families, corporations, and foundations experience local, personal service from a dedicated team of seasoned professionals. Our team structure offers the unique advantage of long-term continuity of service. ONWM is a trusted financial partner, assisting with investment management, financial planning, retirement planning, and trust services. Old National Wealth Management is a Top 100 Fiduciary in the U.S. and part of the Old National Bancorp family of companies . the largest financial services company headquartered in the state of Indiana. _______________________ Supporting Jazz Studies at the IU Jacobs School of Music The Indiana University Jacobs School of Music gratefully acknowledges persons and institutions who support our students and faculty through the following endowments, scholarships, estate plans, and other funds. Endowed Funds Jamey and Sara Aebersold Jazz Fellowship David N. Baker Jr. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Stan Kenton, UM Jazz Workshop in Concert Saturday at University
University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 5-5-1975 Stan Kenton, UM Jazz Workshop in concert Saturday at University University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "Stan Kenton, UM Jazz Workshop in concert Saturday at University" (1975). University of Montana News Releases, 1928, 1956-present. 24140. https://scholarworks.umt.edu/newsreleases/24140 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. t news Information Services • U iversity of montana • missoula, montana 59801 • (406) 243-2522 IMMEDIATELY sale/rb 5-5-75 STAN KENTON, UM JAZZ WORKSHOP local + cs + IN CONCERT SATURDAY AT UNIVERSITY MISSOULA-- Bandleader and pianist Stan Kenton and his orchestra and the University of Montana Jazz Workshop under the direction of Lance Boyd, assistant professor of music and director of UM Jazz Studies, will present a concert at 8 p.m. Saturday, May 10, in the University Theater. Kenton, who is currently on tour with his 19-member group between musical engagements in Denver, Colo., and Vancouver, B.C., also will present a jazz clinic from 4-6 p.m. -
Discography Updates (Updated May, 2021)
Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.