DOCSLIB.ORG

Rodriguez Jr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rodriguez Jr Johnny “Dandy” Rodriguez Jr. (Percussion & Band Leader) Johnny “Dandy” Rodriguez Jr. (1945, United States), is a Latin percussionist from New York City. At 17 years old Johnny earned a position playing bongos in the Tito Puente Orchestra. Johnny spent over 30 years with the Tito Puente Orchestra, also working with Tito Rodriguez from 1965 to 1968 and with Ray Barretto from 1970 until the end of 1972. Johnny went on to form ‘Tipica 73’ band in 1972, which he was with until 1979. Following this he went back to work with Tito Puente, playing alongside him until the time of his death in May 2000. He is currently the leader of The Mambo Legends Orchestra, which is arguably, the finest Latin Big Band in the world Videos: Credit: Arise: The Live William 2011 Drums, Percussion Worship Experience McDowell Bell, Bongos, Watch Out! [¡Ten Mambo Legends 2011 Executive Producer, Cuidao!] Orchestra Guiro, Soloist 2009 Many Moods Yolanda Duke Quotation Author The Essential Ray 2007 Barretto: A Man and Ray Barretto Quotation Author His Music Victor 2006 Decisión Unámine Bongos Manuelle Concord Picante 25th Bongos, Guiro, 2005 Anniversary Percussion, Vocals Collection The Essential Tito 2005 Tito Puente Bongos Puente 2004 Instant Party Tito Puente Bongos, Percussion Lullabies of Birdland George 2004 – A Musical Bongos Shearing Autobiography Party at Puente’s 2004 Tito Puente Bongos, Percussion Place Eddie 2003 Ritmo Caliente Bongos, Guiro Palmieri Willie Bobo’s Finest 2003 Willie Bobo Bongos, Cowbell Hour Hot Timbales!: Out of 2002 This World/Mambo of Tito Puente Bongos, Percussion the Times Eddie 2002 La Perfecta II Bongos, Guiro Palmieri Saoco! Masters of Bongos, Congas, 2001 Afro-Cuban Jazz Cowbell Bongos, Percussion, Oye Como Va: The 1997 Tito Puente Timbales, Vocals Dance Collection (Background) United Nations of 1996 Bass, Guitar (Bass) Messidor Lionel 1995 For the Love of Music Percussion Hampton 1993 Saxofobia Plus Bongos The Anthology: Down The Manhattan 1992 Bongos in Birdland Transfer The Cesta All-Stars, Cesta All Bongos, Congas, 1990 Vol. 1 Stars Percussion Bongos, Congas, Homenaje a Beny More, Main Personnel, 1985 Celia Cruz Vol. 3 Percussion, Timbales Tito Puente & Mambo Diablo [Concord 1985 His Latin Bongos, Percussion Picante] Ensemble Guitar (Bass), 1985 Rock the American Way Jack Starr Vocals (Background) 1984 El Rey Tito Puente Bongos, Vocals 1982 On Broadway Tito Puente Bongos, Percussion Bongos, Main 1978 A Todo Mis Amigos Celia Cruz Personnel 1977 Fire Works Machito Congas The Manhattan 1977 Pastiche Percussion Transfer The Manhattan 1976 Coming Out Bongos, Percussion Transfer Choir/Chorus, 1973 Tipica 73 Tipica ’73 Congas 1972 Para Los Rumberos Tito Puente Bongos, Cencerro Bongos, Main 1972 The Message Ray Barretto Personnel 1968 A New Dimension Willie Bobo Bongos, Cowbell El Sonido Moderno: Bobby Bongos, Congas, 1968 The Modern Sound of Paunetto Cowbell, Timbales Bobby Pauneto Charlie Unknown Contributor 1968 Latin Bugalu Palmieri Role 1963 Hobo Flats Jimmy Smith Drums 1956 Cuban Carnival Tito Puente Cuban Percussion Source: https://en.wikipedia.org/wiki/Johnny_%22Dandy%22_Rodriguez_Jr.
Load more

Recommended publications
  • Tenor Saxophone Mouthpiece When
    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado 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 Associate Pete Fenech 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, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: 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 Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
    [Show full text]
  • Bobby Sanabria Reflects on His New Role at WBGO, and a Life of Advocacy for Latin Jazz
    Bobby Sanabria Reflects on His New Role at WBGO, And a Life of Advocacy For Latin Jazz By NATE CHINEN • 8 HOURS AGO Latin Jazz Cruise TwitterFacebookGoogle+Email Bobby Sanabria, the new host of Latin Jazz Cruise, in the studio at WBGO. NATE CHINEN / WBGO Bobby Sanabria was a teenager, growing up in the Bronx, when he placed his first call to a radio station. The station was WRVR, a beacon of jazz in the New York area at the time, and he was calling to request a song by vibraphonist Cal Tjader. “I asked for ‘Cuban Fantasy’ — the live version from an album called Concert on the Campus,” Sanabria recalls. “Willie Bobo takes an incredible timbale solo on that track. As a percussionist, that was something I knew I needed to study.” To his surprise and dismay, the DJ at the station brusquely replied that “Cuban Fantasy” was Latin music, and had no place on a jazz program. Then he hung up. Sanabria called back again, and again and again, until finally his protestations got the song played on the air. But why had it been such a struggle? “That was when I realized this branch of the music was not considered part of the mainstream by the jazz intelligentsia,” Sanabria says. “I guess you could call that my first ‘A-ha moment’ of being an advocate. I always remember that. And I always will be a champion for this art form.” Sanabria is about to bring that passion to a new platform as the incoming host of Latin Jazz Cruise, which broadcasts on Fridays from 9 to 11 p.m.
    [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]
  • Herbie Hancock 1 Jive Hoot (Bob Brookmeyer)
    MUNI 20150420 – Herbie Hancock 1 Jive Hoot (Bob Brookmeyer) 4:43 From album BOB BROOKMEYER AND FRIENDS (Columbia CS 9037 / 468413) Bob Brookmeyer-vtb; Stan Getz-ts; Gary Burton-vib; Herbie Hancock-p; Ron Carter- b; Elvin Jones-dr. New York City, May 1964. Herbie Hancock: THE COMPLETE BLUE NOTE SIXTIES SESSIONS (all compositions by Herbie Hancock) Recorded at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey (all sessions) Three Wishes 5:10 Donald Byrd-tp; Wayne Shorter-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. December 11, 1961. From album Donald Byrd: FREE FORM (Blue Note 95961) Watermelon Man 7:08 Freddie Hubbard-tp; Dexter Gordon-ts; Herbie Hancock-p; Butch Warren-b; Billy Higgins-dr. May 28, 1962. From album TAKIN’ OFF (Blue Note 84109 / 46506) Yams 7:56 Jackie McLean-as; Donald Byrd-tp; Herbie Hancock-p; Butch Warren-b; Tony Williams-dr. February 11, 1963. Jackie McLean: VERTIGO (Blue Note LT-1085) Blind Man, Blind Man 8:16 Donald Byrd-tp; Grachan Moncur III-tb; Hank Mobley-ts; Grant Green-g; Herbie Hancock-p; Chuck Israels-b; Tony Williams-dr. March 19, 1963. MY POINT OF VIEW (Blue Note 84126 / 84126-2) Mimosa 6:34 Herbie Hancock-p; Paul Chambers-b; Willie Bobo-dr, timb; Oswaldo „Chihuahua“ Martinez-bongos, finger cymbals. August 30, 1963. INVENTIONS AND DIMENSIONS (Blue Note 84147 / -2) One Finger Snap 7:16 Freddie Hubbard-co; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr. June 17, 1964. EMPYREAN ISLES (Blue Note 84175 / -2) Maiden Voyage 7:55 Dolphin Dance 9:16 Freddie Hubbard-tp; George Coleman-ts; Herbie Hancock-p; Ron Carter-b; Tony Williams-dr.
    [Show full text]
  • Drumgenius 1.6 1
    DRUMGENIUS 1.6 1 Drumgenius 1.6 Name Description Style Bpm Traditional Abaquá, Havana style, on congas. Rhythm is based on primary Abaquá 1. Afro-Cuban ♩. Afro 6/8 clave. 97 bpm. 97 Abaquá, Havana style, as played by Ignacio Berroa on VHS Mastering the art Abaquá 2. Afro-Cuban ♩. of Afro-Cuban drumming - DCI. 97 bpm. 97 Afro 6/8 1. Cymbal plays traditional Bembé bell pattern. 108 bpm. Afro-Cuban ♩. 108 Afro 6/8 2. Cymbal plays variations on traditional Bembé bell pattern. 124 bpm. Afro-Cuban ♩. 124 Ride cymbal plays eighth notes. Afro 6/8 3. Example: Louis Hayes on "señor blues", Six pieces of Silver Afro-Cuban ♩. (H. Silver – Blue Note). 100 bpm. 100 Juxtaposition of binary and ternary rhythm. Afro 6/8 4. Ex.: Art Blakey on "caravan", Caravan Afro-Cuban ♩. (The Jazz Messengers – Riverside Records). 150 bpm. 150 Tom-tom and kick drum variations. Afro 6/8 5. Example: Joe Chambers on "man from Tanganyika", Tender Moments Afro-Cuban ♩. (McCoy Tyner – Blue Note). 142 bpm. 142 Example: Mel Lewis on "a night in Tunisia", Legacy (J. Faddis - Concord). Afro 6/8 6. Afro-Cuban ♩. 138 bpm. 138 Afro 6/8 7. Afro 6/8 with backbeat. 130 bpm. Afro-Cuban 130 Ex.: Willie Bobo on "Succotash", from the album Succotash Afro 6/8 8. (H. Hancock/W. Bobo - Blue Note). Afro-Cuban 113 113 bpm. Ballroom rumba 1. Basic ballroom rumba pattern on brushes. 167 bpm. Afro-Cuban 167 Variations on basic ballroom rumba pattern. Ballroom rumba 2. Ex.: Shelly Manne on "little rhumba", Poll winners three Afro-Cuban 188 (B.
    [Show full text]
  • JAZZ EDUCATION in ISRAEL by LEE CAPLAN a Thesis Submitted to The
    JAZZ EDUCATION IN ISRAEL by LEE CAPLAN A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ ___________________________________ Newark, New Jersey May,2017 ©2017 Lee Caplan ALL RIGHTS RESERVED ABSTRACT OF THE THESIS JAZZ EDUCATION IN ISRAEL By LEE CAPLAN Thesis Director Dr. Henry Martin Jazz Education in Israel is indebted to three key figures – Zvi Keren, Arnie Lawrence, and Mel Keller. This thesis explores how Jazz developed in Israel and the role education played. Jazz Education in Israel discusses the origin of educational programs such as the Rimon School of Jazz and Contemporary Music (1985) and the New School Jazz Program (1986). One question that was imperative to this study was attempting to discover exactly how Jazz became a cultural import and export within Israel. Through interviews included in this thesis, this study uncovers just that. The interviews include figures such as Tal Ronen, Dr. Arnon Palty, Dr. Alona Sagee, and Keren Yair Dagan. As technology gets more advanced and the world gets smaller, Jazz finds itself playing a larger role in humanity as a whole. iii Preface The idea for this thesis came to me when I was traveling abroad during the summer of 2015. I was enjoying sightseeing throughout the streets of Ben Yehuda Jerusalem contemplating topics when all of a sudden I came across a jam session. I went over to listen to the music and was extremely surprised to find musicians from all parts of Europe coming together in a small Jazz venue in Israel playing bebop standards at break-neck speeds.
    [Show full text]
  • Dizzy Gillespie - Buddy Rich
    MUNI 20070503 Dizzy Gillespie - Buddy Rich 1. Ow! (Dizzy Gillespie) 3:02 Dizzy Gillespie and His Orchestra : Dizzy Gillespie, Dave Burns, Elmon Wright, Matthew McKay, Ray Orr-tp; Taswell Baird, William Shepherd-tb; John Brown, Howard Johnson-as; James Moody, Joe Gazles-ts; Cecil Payne-bs; Milt Jackson-vib; John Lewis-p; John Collins-g; Ray Brown-b; Joe Harris-dr. New York, August 22, 1947. Victor 20-2480/D7-VB-1542-1. [RCA 07863 66528 2] 2. Manteca (Dizzy Gillespie-Walter “Gil” Fuller-Chano Pozo) 3:08 Dizzy Gillespie and His Orchestra : Dizzy Gillespie, Dave Burns, Elmon Wright, Lamar Wright, Jr., Benny Bailey-tp; William Shepherd, Ted Kelly-tb; John Brown, Howard Johnson-as; Joe Gayles, „Big Nick“ Nicholas-ts; Cecil Payne-bs; John Lewis-p; Al McKibbon-b; Kenny Clarke-dr; Chano Pozo-conga, bongos, voc. New York, December 30, 1947. Victor 20-3023/D7-VB-3080-1. [RCA 07863 66528 2] 3. Cubana Bop (George Russell-Dizzy Gillespie) 3:20 Dizzy Gillespie and His Orchestra : same personnel. New York, December 22, 1947. Victor 20-3145/D7-VB-2935-1. [RCA 07863 66528 2] 4. Gillespiana – 1. Prelude (Boris “Lalo” Schifrin) 5:56 Dizzy Gillespie and His Orchestra : John Frosk, Dizzy Gillespie, Ernie Royal, Clark Terry, Joe Wilder-tp; Urbie Green, Frank Rehak, Britt Woodman-tb; Paul Faulise-btb; Jammes BufFington, Al Richman, Gunther Schuller, Julius Watkins-h; Don ButterField-tu; Leo Wright-Fl, as; Lalo SchiFrin-p; Art Davis-b; Jack Del Rio-bongos; Candido Camero-conga; Willie Rodriguez-timb; Chuck Lampkin-dr. New York, November 14-15, 1960.
    [Show full text]
  • September 2013 570 Tracklists 1050 Entries I Received the Skeleton Of
    Keith jarrett Disco Version 14 September 2013 570 tracklists 1050 entries . I Received The skeleton of this Discography on December 2010 from Klaus Muller (Many thanks to Him) tracklists (mainly official recordings) I added more than 600 Tracklists/entries coming from the following discos: Olivier Bruchez’s (BR) Davide sparti’s (SP) Peter Losin’s (PL) Dime entries (DI) Arnulf Muller (mu) (pa) http://web.archive.org/web/20100612160739/http://papoulis.dyndns.org/~sim/jarrett/bootlegs.php My Collection +++ Concerts Prepared by Flambay + u014945 (fl+++) Concerts prepared by U014945 (+++) Hope you all enjoy For every mistake and update please e-mail me at [email protected] 620000 Don Jacoby And The College All Stars Bob Crull, Don Jacoby, Gary Slavo, Tom Wirtel, Chris Witherspoon (tp) Dee Barton, Willie Barton, Loren William Bin- ford, Dave Wheeler (tb) Al Beuler, John Giordano (as) Don Melka, Bob Pierson (ts) Jerry Keys (bs, as) Keith Jarrett (p) Don Gililland (g) Toby Guynn (b) John Van Ohlen (dr) 1962, Chicago, IL 1 Dizzy Atmosphere 2 Young Man With The Blues 3 Sing 4 It's Good For You 5 Just For A Thrill 6 Anema E Core (How Wonderful To Know) 7 Mais Oui 8 Sleepy Serenade 9 Jey Out Of Town 10 Jacob Jones 11 Let Me Love You 12 Teach Me Tonight 13 Groovin' High 14 The End Of A Love Affair 15 Lover Man (Oh, Where Can You Be?) 16 You Don't Know What Love Is 17 Back To The Beat 1-17: Don Jacoby - Swinging Big Sound (Decca DL 4241) 650300 Keith Jarrett trio (PA) Kent Carter Bass Danny Fullerton Drums, Winchester , Massachussets, USA .
    [Show full text]
  • Tjader to Jazz Fonim Vihist Visits
    Vol. V No. 3 Columbia Junior College February 7, 1974 Tjader to Jazz Fonim Vihist Visits Cal Tjader was a show played with him or business veteran when he recorded witb him during was ten years old; he was that time is really impres­ raised-not literally but sive. It includes Vince figuratively-in a trunk Guaraldi (composer of and grew up backstage in "Cast Your Fate to the the innwnerable theatres Wind"), Mongo San­ where his father toured tamaria, Willie Bobo, (both with the Duncan Sisters in well known leaders now of vaudeville. their own groups), tenor You can tell Cal's back­ star Stan Getz, bassist Al ground every now and then McKibben, Armando when he gets into Peraza, Latin percussionist something like a Merv Johnnie Rae and saxo-· Griffin soow appearance. phonist Paul Horn. Then it's not Just "Cal Cal's records have been Tjader Vibraphonist" or consistent sellers over the "Cal Tjader, Soul Sauce years. Some of his more Latin jazz." It's ''.Cal ambitious projects with Tjader, Hoofer and Ad arrangers Clare Fischer Libber" and it fits. and Gary McFarland have - Before Cal got into earned special places in music, he tap danced in contemporary jazz history. vaudeville, even appearing Several years ago Cal took once in a film with Mr. an Afro-jazz composition Bojangles, Bill Robinson. by Dizzy Gillespie and Then he settled in the warm Chano P ozo, the g r eat San Francisco peninsula congo drummer from Cuba town of San Mateo and took who starred with the up drums-a natural move Gillespie band of the late for a dancer.
    [Show full text]
  • Carlos Patato Valdes Carlos Patato Valdes (November 4, 1926 – December 4, 2007) Was a Cuban-Born American Conga Player
    Carlos Patato Valdes carlos patato valdes (November 4, 1926 – December 4, 2007) was a Cuban-born American conga player. In 1955 he emigrated from Cuba to New York City where he played with Willie Bobo in Harlem. He was also known by the name “Patato”. He invented and patented the tunable conga drum (earlier drums had nailed heads) which revolutionized use of the instrument. Tito Puente called him “the greatest conguero alive today.”Since the 1950s Patato was among the congueros that were in highest demand in the Latin Music and jazz world. He played, toured and recorded together with singer Miguelito Valdés, Perez Prado, Beny Moré, Cachao López, with Tito Puente, Machito, Herbie Mann, Kenny Dorham, Cal Tjader, Art Blakey, Elvin Jones and other, also with Dizzy Gillespie and Quincy Jones, accompanying both on extended tours throughout Europe, and with the late Mario Bauza. Patato acted in and composed the title song of The Bill Cosby Show. In 1991 he contributed to the movie soundtrack for The Mambo Kings Play Songs of Love. Patato was the leader of his own band ‘Afrojazzia’, which toured Europe in the spring of 1994. A lifetime smoker, carlos patato valdes had emphysema and died of respiratory failure in Cleveland, Ohio on December 4, 2007. For over 60 years Carlos “Patato” Valdez demonstrated how a musician could combine technical skill with superb showmanship. His conga playing demonstrated the fusion of melody and rhythm. It also reflected his keen understanding of rhythm as a biological constant that is rooted, quite literally, in the human heartbeat.
    [Show full text]
  • A Fascinating Life in Jazz: Just Like a Film Noir Pianist Larry Vuckovich
    Life became even worse under Tito’s Communism, when Larry’s father was labeled an American collaborator and sentenced to prison and threatened with execution. The American Government influenced the release and subsequent resettlement of the family in San Francisco, where the elder Vuckovich had retained friendships formed in his early days with American friends as well as members of the Serbian community. But to the 14-year-old Larry, an amazing life was about to unfold, as if his film noir beginning had suddenly morphed into a technicolor production. He now lived in the midst of the flourishing jazz scene of the ‘50s, one of the most exciting periods in the history of jazz. He could hardly wait to dive in. Here’s what he encountered: • San Francisco offered a veritable candy store full of music: besides bebop and hard bop and the related beatnik poetry set to jazz, the music ran the gamut from New Orleans style, boogie-woogie – swing piano, and big bands, to Afro – Cuban Latin jazz and the new jazz modal music of Bill Evans/Miles Davis/John Coltrane plus avant-garde sounds of Ornette Coleman/Don Cherry. As a high school student, he sat in the non-drinking sections the clubs had roped off for teenagers, a smart move that fostered development of hardcore, future jazz fans. He regularly heard visiting bands, such as the MJQ, Dizzy Gillespie, Miles Davis/John Coltrane, Cal Tjader/Mongo Santamaria/Willie Bobo/Vince Guaraldi, Count Basie, Harry James, Bill Evans, Cannonball Adderley, to name a few. • Beatnik jazz clubs flourished in North Beach.
    [Show full text]
  • Faculty Jazz Parliament Performs the Music of Chick Corea
    program Kennesaw State University School of Music Tuesday, December 2, 2014 at 8:00 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Forty-seventh Concert of the 2014-15 Concert Season Faculty Jazz Parliament performs the music of Chick Corea Program to be chosen from the following: Armando’s Rhumba Tones for Joan’s Bones Windows Matrix Humpty Dumpty Got a Match? You’re Everything La Fiesta Times Lie personnel FACULTY JAZZ PARLIAMENT Sam Skelton, reeds Lester Walker, trumpet Wes Funderburk, trombone Trey Wright, guitar Tyrone Jackson, piano Marc Miller, bass Justin Chesarek, drums program notes Armando Anthony "Chick" Corea (born June 12, 1941) is an American jazz and fusion pianist, keyboardist and composer. Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s, he formed Return to Forever. Along with Herbie Hancock, McCoy Tyner, and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era. Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy. Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin musicians such as Herbie Mann, Willie Bobo and Mongo Santamaría. One of the earliest recordings of his playing is with Mitchell's quintet on The Thing To Do.
    [Show full text]