DOCSLIB.ORG

QUILTING... Putting It All Together

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
QUILTING... Putting It All Together HAPPY NEW YEAR! FREE Volume 2 Number 1 January/February 2002 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY QUILTING...“Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers Putting It All Together BY VALERIE COOLEY few years ago a Los Angeles couple stayed too long been wool, cotton, cat tail fibers, or dried grass. in Central Oregon, leaving only one day to get back Whatever it was, it would have inevitably home and to work. Vowing to stop for nothing but slumped to the hems, leaving the top of a garment gas, food, and restrooms, they left Bend at full thin and cold and the bottom lumpy. Someone speed. The man drove the first shift and the woman figured out that additional “hems” all over the fell asleep. Turning into the quaint little town of garment would separate and stabilize the insula- Sisters, he saw a sign heralding “The World’s tion Thus basic quilting was invented. These A Largest Outdoor Quilt Show” quilted fabrics became shoes, petticoats, jackets, “Thank God she’s asleep”, he muttered. Then he saw the first blankets, rugs, and even armor for soldiers. colorful wave of quilts hanging from the wooden buildings and In fact, it was probably soldiers that inadver- said “I can’t do it.” He pulled over, shook her awake, handed her tently introduced the western world to decorative a camera, and said “It’s a quilt show; you have half an hour.” quilting. Soldiers wore quilted garments as light, He was a good man and he knew, instinctively, what mattered. protective armor or as padding against the weight The Sisters’quilt show – just one of many every year – is a sign of heavy metal armor. They even sandwiched of the enormous popularity of quilts and quilting. Even the unini- sheets of iron between the layers of weskits to tiated man from Los Angeles saw in a flash that this was some- deflect arrows or spears thing big. If you don’t know what quilting is all about, or if you just When the Crusades to save the holy land want to learn more, go to a quilt show. They are a good place to began in 11 A.D., the soldiers headed east wear- see lots of quilts in a wide range of styles. You’ll see brilliant dis- ing clothing of wool and linen, the only fabrics Artist: Dorthy Taylor plays of American patchwork, rich examples of Amish-style quilts, that Western Europe produced. When their gar- and gorgeous picture quilts. You’ll rapidly become familiar with ments tore, they patched them with any scraps of well known patterns like double wedding ring, log cabin, stars and fabric they could find. These patches would have grown more crosses, Sunbonnet Sue, Texas star, tumbling blocks, and more. If exciting as the soldiers trudged farther east and closer to the you are a contra or square dancer or a folk musician, some of the home of Asia’s elegant silks and cottons. The Crusaders incor- names will be like dances and tunes you know. porated the new fabrics and ornate embroidery stitches into their Quilt shows occur all over the county, all year long. Some are clothing and brought home a new art form as well as a hunger big and some are small, but they’re all wonderful. In Southern for the new materials. California you can probably find at least one show a month put By the 17th century, much European clothing was elegant, on by quilting groups, museums, church bazaars, county fairs made of fine cottons and silks embroidered in gold. Quilted bed- and art galleries. Watch for them in your newspaper’s calendar. coverings were also made of fine fabrics and lavishly embroi- Besides being just plain fun, they’ll give you a feeling for the dered in patterns adapted from Far Eastern ones. The colonists skill, inventiveness, cultural heritage, color sense, and artistry of left this abundance and came to America where there was very the local quilters. little fabric, elegant or otherwise. Women trying to keep their If you can’t wait for a show to see quilts, visit your local quilt families warm were forced to use and re-use all the fabric they shop. Find a quilting guild and see what they’re working on. Go had, the pieces growing ever smaller. They redesigned their Old to the library. World patterns to accommodate the smaller pieces and, out of Quilting has been around for thousands of years or more, but scarcity, American patchwork was born. fabric is fragile. It hasn’t lingered to tell the stories we’ve learned Americans quilted routinely from colonial days till around from the more durable tools, pottery, and bones of our ancestors. the Second World War, then took time out. With central heating, An “ancient” example of quilting – a Mongolian rug – was found electric blankets, and television, who needed quilts or had time in 1924, well preserved in a tomb. It was a little over 2000 years to make them? Mainstream America flowed on, giving little, if old, just a baby compared to a million-year old Stone Age axe. any, thought to quilts. For all they knew, quilts were extinct. We can speculate, however, that when people began using But the quilters had started traditions that wouldn’t die just IN THIS ISSUE woven fabrics instead of animal fur, they got pretty cold before because their quilts were no longer needed for survival. Survival EDITORIAL ................................... 2 they learned to pad their fabrics with fluff. The fluff could have wasn’t their product anyway. They’d known that all along. They LETTERS ....................................... 2 tucked their babies into bed at night, finished their chores, INTERVIEW................................... 3 brought out their sewing baskets and made ART. They stitched PETER CASE beauty and told stories. They paid homage, saved memories, and KEYS TO THE HIGHWAY .......... 4 said hello and goodbye to babies and friends. They captured the Adventures in Music Theory GOT TO BUY A GIFT .................. 4 patterns and the colors, the joys and irritations of their days. And Tales from the Story Bag they kept their families warm. THE VOICES IN MY HEAD ....... 5 What a blessing it was that quilts were necessary for so long. Fathers of Folklore It gave women time to socialize, to relax, to be creative. It gave CD REVIEWS ............................... 7 them time to develop patterns and traditions and to pass these on. WHAT IS A HURDY GURDY? ... 8 Without this endless, essential task, women would have sacri- ON-GOING MUSIC ficed the creative pleasures of quilting and turned their attention HAPPENINGS ................................9 to more pressing and onerous work. CALENDAR OF EVENTS ......... 10 Somewhere around mid-century, people in the mainstream ON-GOING DANCE HAPPENINGS ..............................12 began to realize what a treasure the old quilts were. Art dealers RANDAL BAYS............................ 13 bought them. Galleries displayed them. Ethnographers, photog- An Authenticity of Spirit raphers, collectors, and folklorists began interviewing quilters BOULEVARD MUSIC ................ 14 and their families and recording their stories. They didn’t just FEATURED ORGANIZATION ..15 learn about patterns and fabric; they uncovered family and social The Arroyo Heritage Theater history. Just as a child learns from the patches on Granny’s old END OF AN ERA AT TOPANGA .............................. 16 quilt what his family wore to work and play, so have the histori- Dorian Keyser Resigns From the Fiddle Contest ans learned about broader patterns and trends. BANJO MANDOLINS ................ 16 Meanwhile, the families that had never stopped quilting kept The Perfect Travel Instrument, Sturdy, Small, Light and Loud on. Now that it was regarded as an art form, classes formed, SPECIAL EVENTS...................... 20 Photo by Valerie Cooley - CTMS Permission Cooley Valerie Photo by Artist: Barbara Miller QUILTS page 18 ➤ PREVIOUS GO TO PAGE 1 NEXT ➤ Page 2 FolkWorks January-February 2002 EDITORIAL an you believe it? It’s been a you gifts. But we need more of you to PUBLISHERS & EDITORS year since we published the become members (remember, your con- Leda & Steve Shapiro first issue of FolkWorks and tribution is tax-deductible). C LAYOUT & PRODUCTION we’ve been very pleased with the We have had a great time producing Alan Stone results. We’ve gotten positive feedback concerts. We started out with John from many people, some who we have McCutcheon and followed that with FEATURE WRITERS known for years and many others who Kevin Burke, Vincent Griffin, Bruce Joanna Cazden we’ve never met. We are also pleased at Molsky, Tom, Dick and Pete (Tom The Voices in my Head the willingness of people to write arti- Photo by Judi Lubeek Sauber, Richard Greene and Peter Harlynne Geisler cles and columns, and others to help us BY LEDA & STEVE SHAPIRO Feldman) and Nevenka. We enjoy being Tales from the Story Bag edit. And we can never give enough thanks to Alan Stone and able to present live music in small venues and plan on doing Roger Goodman Keys to the Highway his family who we’ve all but driven crazy every other month that again this year. this past year. So, it’s a New Year. As is traditional, we all make resolu- Gaili Schoen, Interviews Over the year, we have also learned a lot. Not just what tions. And we try to keep them, at least for a while. Over the Dennis Stone. CD Reviews it takes to publish a newspaper, but what it takes to keep it long Thanksgiving weekend we finally had the opportunity Mike Tackett, Zookman going.
Load more

Recommended publications
  • Georgia Douglas Johnson and Eulalie Spence As Figures Who Fostered Community in the Midst of Debate
    Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Caroline Roberta Hill, B.A. Graduate Program in Theatre The Ohio State University 2019 Thesis Committee: Jennifer Schlueter, Adviser Beth Kattelman Copyright by Caroline Roberta Hill 2019 Abstract The Harlem Renaissance and New Negro Movement is a well-documented period in which artistic output by the black community in Harlem, New York, and beyond, surged. On the heels of Reconstruction, a generation of black artists and intellectuals—often the first in their families born after the thirteenth amendment—spearheaded the movement. Using art as a means by which to comprehend and to reclaim aspects of their identity which had been stolen during the Middle Passage, these artists were also living in a time marked by the resurgence of the Ku Klux Klan and segregation. It stands to reason, then, that the work that has survived from this period is often rife with political and personal motivations. Male figureheads of the movement are often remembered for their divisive debate as to whether or not black art should be politically charged. The public debates between men like W. E. B. Du Bois and Alain Locke often overshadow the actual artistic outputs, many of which are relegated to relative obscurity. Black female artists in particular are overshadowed by their male peers despite their significant interventions. Two pioneers of this period, Georgia Douglas Johnson (1880-1966) and Eulalie Spence (1894-1981), will be the subject of my thesis.
    [Show full text]
  • THE CORD WEEKLY January 22Nd, 1 January 22Nd, 1 Hawks Eke out Canadian Roundup Wuc with Barry Dickson Shovel It Says Judge
    THE Evaluation needed if CUS to succeed THREE PRESIDENTS CRITICIZED The Canadian Union of Stud'­ is the main aim, then it is time volvement that Goodings wanted ents should re-examine its posi­ they spent less time runnig con­ a full-time job. ORD tion and determine its objectives tests and making travel arrange­ and it is time that the organizJ.oo ments for university studtmts to McLean further submitted · WEEKLY tion gave more than lip service visit Europe in the summer and that he did not think that the to long term planning if it is to more time pursuing that objec­ present efforts and accomplish­ Voi.IV-No. 12 Waterloo University College Wed,. Jan. 22 be successful. tive. ments of CUS substantiated the costs. December 12th, 1963 These were the words used by McLean continued his attack CUS attacked by Student Council President Archie by stating that when Stewart McLean as he outlined the reas­ Goodings succeeded Walter Mc­ He further accused the present WUC Student Council ons for his support of the with­ Lean as National President, the President, David Jenkins, of 1rndest drawal of Waterloo University objective of CUS was again again redefining the primary ob­ by Ed Neigh jective of CUS. MseLan pointed In a letter of resignation of WUC from Canadian College from the Canadian Union changer, as Goodin.gs stated in of Students. his final report that the student's out that Mr. Jenkins had said [nion of Students, Student Council president Archie Me­ that the primary purpose and y figured a way to catch lao lashed out at what seemed to be the inherent incom­ involvement in the university McLean stated that in the past community cannot be a half­ perhaps the only issue with so ah faked a heart at­ ,etence of the organization.
    [Show full text]
  • January / February
    CELTIC MUSIC • KENNY HALL • WORLD MUSIC • KIDS MUSIC • MEXICAN PAPER MAKING • CD REVIEWS FREE Volume 3 Number 1 January-February 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY A Little“Don’t you know that Folk Music Ukulele is illegal in Los Angeles?” — WARREN C ASEYof theWicket Tinkers is A Lot of Fun – a Beginner’s Tale BY MARY PAT COONEY t all started three workshop at UKE-topia hosted by Jim Beloff at years ago when I McCabe’s Guitar Shop in Santa Monica. I was met Joel Eckhaus over my head in about 15 minutes, but I did at the Augusta learn stuff during the rest of the hour – I Heritage Festival just couldn’t execute any of it! But in Elkins, West my fear of chords in any key but I Virginia. The C was conquered. Augusta Heritage The concert that Festival is has been in existence evening was a for over 25 years, and produces delight with an annual 5-week festival of traditional music almost every uke and dance. Each week of the Festival specialist in the explores different styles, including Cajun, SoCal area on the bill. Irish, Old-Time, Blues, Bluegrass. The pro- The theme was old gram also features folk arts and crafts, espe- time gospel, in line with cially those of West Virginia. Fourteen years the subject of Jim’s latest ago Swing Week was instigated by Western book, and the performers that evening had Swing performers Liz Masterson and Sean quite a romp – some playing respectful Blackburn of Denver, CO as a program of gospel, and others playing whatever they music.
    [Show full text]
  • John Mceuen Brings with Him 45+ Years of Worldwide Performing with His Banjo, fiddle, Guitar, and Mandolin
    John McEuen brings with him 45+ years of worldwide performing with his banjo, fiddle, guitar, and mandolin. Often referred to as 'the String Wizard', he weaves stories of his travels and family life (he has raised 7 kids), taking us through where his musical path has taken him. A founding member of the Nitty Gritty Dirt Band in 1966, John instigated the 1972 classic Will the Circle Be Unbroken album, (inducted in to the Library of Congress as 'one of America's most important recordings). He has earned Emmy nominations, Grammy Awards, CMA acclaim, The Western Heritage Award, and many other accolades can be found on his website: www.johnmceuen.com. Proud to be an integral part of the first American band to go to Russia (in 1977!), John's love of performing is evident when during his shows he takes us 'behind the curtain' of the music world that so many of us know of only as listeners, and shows us how we have all been a part of it, more than we may know. McEuen's XM radio show, Acoustic Traveller, is in its 6th year, and you can find his new Americana Music Show on Syndicatednews.net (of which he is CEO) As winner of the 2010 Best of the West Performer award from the Folk Alliance organization, John's show is sure to be one enjoyed by all. He also won Best Bluegrass Album Grammy that year for his production of The Crow - Steve Martin). John in June of 2013 was honored with the Charlie Poole Lifetime Achievement Award in North Carolina.
    [Show full text]
  • A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
    Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument.
    [Show full text]
  • The Origins and Development of English Folk Plays
    National Centre for English Cultural Tradition University of Sheffield THE ORIGINS AND DEVELOPMENT OF ENGLISH FOLK PLAYS Volume 1 Thesis Submitted for the Degree of Ph.D. Peter Thomas Millington May 2002 ABSTRACT This thesis concerns those English folk plays whose plots are centred on the quack doctor character. Earlier researchers proposed three possible origins for these plays: a non-specific mystery play from the time of the crusades, some pre- Christian fertility ritual, and primitive shamanism. All three proposals were based on over-general comparisons, and relied on the key assumption that a continuous history can be traced back from before modern plays to the relevant era. However, in contrast with other customs, no evidence can be found for these plays before the 18th century, despite diligent searching. These theories are therefore disproved. Instead, it is proposed that the plays were attached in the early to mid 18th century to existing house-visiting customs. These were probably the source of the non-representational costumes that are sometimes worn. There is also evidence for the influence of the conventions of the English Harlequinade. The provenance of the scripts is unknown, but similarities between them suggest they ultimately derived from a single proto-text. A full-text database of 181 texts and fragments was built for investigation using cluster analysis, distribution mapping and other computerised techniques, some of which are novel. The cluster analysis has generated a new classification for the play texts that both confirms and extends the established typology. Comparison of the attributes of the clusters, aided by distribution mapping, has resulted in a putative genealogy for the plays that is presented for discussion.
    [Show full text]
  • Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery KAMRAN IMANOV * Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery
    KAMRAN IMANOV Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery KAMRAN IMANOV * Tall Armenian Tales: a Guide to the “Art” of Heritage Thievery The book - “Tall Armenian Tales”, presented to the reader’s attention, consists of two thematic sections. Chapter I, entitled “I came, I saw, I... stole”, is about the misappropriation and armenization of intellectual property of the Azerbaijani people, intellectual plagiarism of the Azerbaijani folklore, dastans (epics) and other epic works, the desire to seize the Azerbaijani bayati (Azerbaijani folk poems), proverbs and sayings. The book also narrates about the “armenization” of tales, anecdotes, music and other samples of folk genre. What is the common of these various manifestations of Armenian plagiary shown in the chapter “I came, I saw, ..., I stole”? The fact is that, firstly, these “tales” do not have an Armenian origin, but only an Armenian presentation. These tales are alien to the Armenian people; in addition, these are the same “anecdotes” in allegorical meaning of this term in the form of absurdities - false statements shown in Chapter II - “The Theatre of Absurd.” PREFACE .............................................................................................. 6 CHAPTER I. “I came, I saw,.. .1 stole”: about the Armenian tradition of misappropriation of the Azerbaijani cultural heritage ............................................................... 8 §1. “I c a m e , w h i c h briefly tells about the mass settlement of the Armenians in the South Caucasus .............................. 9 2 TABLE OF CONTENTS §2. I s a w , w h i c h relates about what Armenians experienced in the South Caucasus .................................................................................... 14 §3. I stole”, which relates about the origins of the Armenian plagiarism .............................................................................................................
    [Show full text]
  • The History of the Beano: the Story So Far Free
    FREE THE HISTORY OF THE BEANO: THE STORY SO FAR PDF D C Thomson | 352 pages | 01 Jan 2009 | Waverley Books | 9781902407739 | English | Lanark, United Kingdom The Entire Destiny 2 Story Explained, Including the Lore in Shadowkeep | Digital Trends The comic first appeared on 30 July[1] and was published weekly. In SeptemberThe Beano' s 3,th issue was published. Each issue is published on a Wednesday, The History of the Beano: The Story So Far the issue date being that of the following Saturday. The Beano reached its 4,th issue on 28 August The style of Beano humour has shifted noticeably over the years, [4] though the longstanding tradition of anarchic humour has remained. Historically, many protagonists were characterised by their immoral behaviour, e. Although the readers' sympathies are assumed The History of the Beano: The Story So Far be with the miscreants, the latter are very often shown punished for their actions. Recent years have seen a rise in humour involving gross bodily functions, especially flatulence which would have been taboo in children's comics prior to the The History of the Beano: The Story So Farwhile depictions The History of the Beano: The Story So Far corporal punishment have declined. For example, the literal slipper — the most common form of chastisement for characters such as Dennis, Minnie the Minx and Roger the Dodger — has become the name of the local chief of police Sergeant Slipper. InD. Thomson had first entered the field of boys' story The History of the Beano: The Story So Far with Adventure.
    [Show full text]
  • Manual Michael Kelly Guitars Wikipedia
    Manual Michael Kelly Guitars Wikipedia Hear and see the 1955 model by Michael Kelly Guitars. Allow Chaz from MK to take you through. M(edit). C. F. Martin & Company · Mann · Maton · Matsumoku · Maestro guitars · Mayones Guitars & Basses · Michael Kelly · Modulus · Moniker Guitars · Mosrite. The Michael Kelly Guitar Company manufactures and sells a complete line of stringed instruments direct to musicians. Includes acoustic basses, mandolins. Pat Metheny's Guitar 42 string Pikasso guitar otherwise known as "I am buikder with Renaissance music - Wikipedia, the free encyclopedia A Unique Neapolitan double-manual Cembalo-Tiorbino (Theorbo-Harpsichord) attributed to Gasparre MICHAEL KELLY F Style Mandolins Legacy Dragonfly Flame Electric. Find the best selection of Michael Kelly Guitars at Guitar Center at the guaranteed lowest prices and free shipping. Recently added guitar, bass, guitar pro and power tabs. Four Year Strong · Go Down In History Chords, Chords, 12. Kamelot · Liar Liar Intro Tab, Tab, 3. Manual Michael Kelly Guitars Wikipedia Read/Download Graduates can be found all across the music industry from guitar repairmen to printed handouts comprise a comprehensive guitar-making manual for future reference. Andersen, Andersen Stringed Instruments, Michael Baranik, Baranik Guitars, Bob Benedetto, Benedetto Guitars, Stephen Bennet, Guitarist, Kelly Butler. American Vintage Guitar Sites Fender,Gibson&Gretsch @ Gary's Guitars Gibson History @ Fox Guitars Jackson Kelly Cult Mosrite: Michael's Page The Michael Kelly Hybrid Special combines both a great electric guitar tone with a wonderful. All non- new item inventory includes all parts, components, manuals (hard copy or The Michael Kelly A- Solid R is the classic A-style mandolin with modern features Learn about the history of the mandolin, the parts of the instrument, how to use for the traveling guitarist who doesn't want to lug around a full-size guitar! Jackson Kelly KEXMG Electric Guitar Silverburst MC in Musical Instruments the warranty card and owner's manual and show no signs of wear or abuse.
    [Show full text]
  • Jerry Garcia Song Book – Ver
    JERRY GARCIA SONG BOOK – VER. 9 1. After Midnight 46. Chimes of Freedom 92. Freight Train 137. It Must Have Been The 2. Aiko-Aiko 47. blank page 93. Friend of the Devil Roses 3. Alabama Getaway 48. China Cat Sunflower 94. Georgia on My Mind 138. It Takes a lot to Laugh, It 4. All Along the 49. I Know You Rider 95. Get Back Takes a Train to Cry Watchtower 50. China Doll 96. Get Out of My Life 139. It's a Long, Long Way to 5. Alligator 51. Cold Rain and Snow 97. Gimme Some Lovin' the Top of the World 6. Althea 52. Comes A Time 98. Gloria 140. It's All Over Now 7. Amazing Grace 53. Corina 99. Goin' Down the Road 141. It's All Over Now Baby 8. And It Stoned Me 54. Cosmic Charlie Feelin' Bad Blue 9. Arkansas Traveler 55. Crazy Fingers 100. Golden Road 142. It's No Use 10. Around and Around 56. Crazy Love 101. Gomorrah 143. It's Too Late 11. Attics of My Life 57. Cumberland Blues 102. Gone Home 144. I've Been All Around This 12. Baba O’Riley --> 58. Dancing in the Streets 103. Good Lovin' World Tomorrow Never Knows 59. Dark Hollow 104. Good Morning Little 145. Jack-A-Roe 13. Ballad of a Thin Man 60. Dark Star Schoolgirl 146. Jack Straw 14. Beat it on Down The Line 61. Dawg’s Waltz 105. Good Time Blues 147. Jenny Jenkins 15. Believe It Or Not 62. Day Job 106.
    [Show full text]
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • Robert Glasper's In
    ’s ION T T R ESSION ER CLASS S T RO Wynton Marsalis Wayne Wallace Kirk Garrison TRANSCRIP MAS P Brass School » Orbert Davis’ Mission David Hazeltine BLINDFOLD TES » » T GLASPE R JAZZ WAKE-UP CALL JAZZ WAKE-UP ROBE SLAP £3.50 £3.50 U.K. T.COM A Wes Montgomery Christian McBride Wadada Leo Smith Wadada Montgomery Wes Christian McBride DOWNBE APRIL 2012 DOWNBEAT ROBERT GLASPER // WES MONTGOMERY // WADADA LEO SmITH // OrbERT DAVIS // BRASS SCHOOL APRIL 2012 APRIL 2012 VOLume 79 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]