P1297to1298 Obits
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Master Artist of Art Nouveau
Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography ............................................................................................. -
"Extraordinarily Phones, the Clariry Is Jaw-Dropping
RECORD REVIEWS tAzz Through Grado SR-225 head- "extraordinarily phones, the clariry is jaw-dropping. Yes, surface noise is significant, but it POYYerful... varies th,roughout, sometimes within unGolor€d... a single track. Balancing pros and cons of sound quality versus historical .natural" value can make bootleg releases an ift proposition in general, but in this case -./ohn Atkinso4 Stereophih the lamer prioriry wins out. The historical importance of the 1940 recording of '8ody and Soul" by Coleman Hawkins that begins this COLEMAN HAWKINS & FRIENDS collection can't be overstated. Two The Savory Collection, Volume No.01: more swinging, beautifully arranged Body and Soul Hawkins numbers follow, then rwo Coleman Hawkins, Herschel Evans, tenor saxophone; from Ella with Chick Webb. Then a Ella Fitzgerald, vocal; Charlie Shavers, trumpet; come rouglrly 25 blissful minutes, six Emilio Caceres, violin; Carl Kress, Dick McDonough. tracks in all, from Fats Waller and His U guitar; Fats Waller, piano, vocal; Lionel Hampton, vibraphone, piano, vocal; Milt Hinton, bass; Cozy Rhythm (before nearly every number, Cole, drums; others Fats implores his public to "Latch National Jazz Museum in Harlem NJMH-0112 on!"). Next, in a Lionel Hampton-led (MP4).2016. William Savory, orig. prod., eng.; Ken Druker, Loren Schoenberg, reissue prods.; Doug jam session with Herschel Evans, Pomeroy, restoration, mastering. A-D. TT: 70:43 Charlie Shavers, Milt Hinton, Cozy jazzmuseuminharlem.org,/the-museum/ See hltp'.// Cole, and others, Hamp plays vibes collections,/the-savory-collection ? and piano and sings, blowing them all PERFoRMANcE ffi off the bandstand. Herschel's ballad soNrcs EXXdE fearure, "Stardust." compares interest- This music is culled from aluminum ingly with Hawk's "Body and Soul." and lacquer discs that, over the course The last rwo racks are more inti- of decades, rotted in the home of one mate curiosities, wonderful in their Bill Savory. -
Stomp 39 He Joint Was Packed, the Dance Floor Twas Jumping, and the Music Was HOT
Volume 36 • Issue 4 April 2008 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Stomp 39 he joint was packed, the dance floor Twas jumping, and the music was HOT. In a nutshell, the NJJS’s annual Pee Wee Russell Memorial Stomp delivered the goods for the 39th straight year. The fun began at noon with a set of modern The musician of the year award jazz classics, smoothly performed by a septet was presented to Eddie Bert. of Jersey college players, and was capped five The octogenarian trom- hours later by some rocking versions of bonist drove down from Swing Era standards by George Gee’s Jump, his home in Jivin’ Wailers Swing Orchestra, who closed Connecticut to pick the show to rousing applause. In between, up his award, but had the clock was turned back to the 1920s and to leave early to get ’30s as vocalist Barbara Rosene and group, back for a gig later in the Jon Erik-Kellso Group and the Smith the day! Street Society Band served up a tasty banquet And John Becker, who had been of vintage Jazz Age music. The Hot Jazz fans unable to attend the NJJS Annual in the audience ate it all up. Meeting in December, was on hand to There were some special guests in attendance receive the 2007 Nick Bishop Award. at the Birchwood Manor in Whippany on The event also featured the presenta- March 2. NJJS President Emeritus, and tion of annual NJJS Pee Wee Russell Stomp founder, Jack Stine, took the stage to scholarship awards to five New present Rutgers University Institute of Jazz Jersey jazz studies college students. -
Aaron SACHS: Frank SACKENHEIM: Fats SADI: Eddie SAFRANSKI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Fats SADI: "Ensadinado" Fats Sadi -vib; Jimmy Woode -b; Francy Boland -p; Kenny Clarke -d; recorded March 21, 1966 in Köln 16279 NIGHT LADY 4.18 Saba SB15111 16280 ENSADINADO 4.46 --- 16281 GOODBYE 3.16 --- 16282 THE SAME 5.06 --- 16283 ALL OF YOU 3.24 --- 16284 -
BRT Past Schedule 2009
Join Our Mailing List! 2009 Past Schedule current schedule 2015 past schedule 2014 past schedule 2013 past schedule 2012 past schedule 2011 past schedule 2010 past schedule 2008 past schedule JANUARY Partial programming support provided by the John H. Chafee Blackstone River Valley National Heritage Corridor Commission THANK YOU! Blackstone River Theatre saw more than 7,200 audience members attend 190 concerts, dances, children events, classes and private functions in 2008. September marked the 8-year anniversary of the reopening of Blackstone River Theatre after over four years of volunteer renovation efforts from July, 1996 to September, 2000. Since reopening, BRT has now presented 850 events in front of more than 52,000 audience members! An additional 3,000 people attended the 2007 and 2008 BRT Celtic Festivals held at Diamond Hill Park. Look for details about another six-week round of fiddle classes for beginner, continuing beginner, advanced beginner and intermediate students with Cathy Clasper-Torch beginning Jan. 13 and Jan. 14. Look for details about another eight-week round of Irish step dance classes for adult and children beginner, continuing beginner, advanced beginner and intermediate students with Terry Songini beginning Jan. 13 and Jan. 17. The joint art exhibit "Wet 'N' Dry," featuring watercolors and pastels by Rick Cardoza and Shelly Eager, will be in BRT's Art Gallery Jan. 9 through Feb. 15. There will be no children's events or drum circles in the month of January. Sunday, January 4, 2-5 PM MAYOR McKEE'S INAUGURATION CEREMONY AND RECEPTION Friday, January 9, 8 PM, $12.00 THE WIYOS/BERTRAND LAURENCE Named after the toughest street gang of old New York, the WIYOS play old timey American music - vaudevillian ragtime blues, early swing, jugband and old time country. -
Download Full Sponsorship Package
The National Jazz Museum in Harlem Smithsonian Aliate 2017 Gala Benefit Concert Sponsorship Opportunity Featuring: Cécile McLorin Salvant GRAMMY Award-Winning Vocalist Joey Alexander Two-time GRAMMY Award-Nominated Pianist Honoring: Randy Weston Pianist & Composer Legends of Jazz Award Jazzmobile Serving jazz community for 53 years Jazz and Community Leadership Award Arthur H. Barnes Former Chair of the Board of Trustees of The National Jazz Museum in Harlem The Kaye Playhouse at Hunter College East 68th Street between Park & Lexington Avenues Wednesday, June 14, 2017 6 PM — VIP Reception 7:30 PM — Awards Presentation & Concert We invite you to partner with the Smithsonian-Affiliated National Jazz Museum in Harlem as a Producer, Platinum, Gold, Silver, Signature or Supporting Sponsor of our 2017 Gala Benefit Concert featuring the renowned artists, pianist Joey Alexander and vocalist Cécile McLorin Salvant. We will present our Legends of Jazz Award, given to individuals whose artistry embodies the highest jazz standards and traditions, to pianist Randy Weston; and we will present our Jazz and Community Leadership Award, given to individuals and organizations for leadership in advancing the appreciation of jazz and for enduring contributions to the quality of life in local Harlem communities, to Jazzmobile. This year we honor our former Board Chair Arthur H. Barnes in recognition of his extraordinary commitment and contributions to jazz. The National Jazz Museum in Harlem, a Smithsonian Affiliate, is a thriving center for jazz that stimulates hearts and minds, and reaches out to diverse audiences to enjoy this quintessential American music. The Museum was founded in 1997 by Leonard Garment who was Counsel to two U.S. -
Eastman Notes July 2006
“Serving a Great and Noble Art” Eastman Historian Vincent Lenti surveys the Howard Hanson years E-Musicians Unite! Entrepreneurship, ESM style Tony Arnold Hitting high notes in new music Summer 2009 FOr ALUMNI, PARENTS, AND FrIeNDS OF THe eASTmAN SCHOOL OF MUSIC FROM THE DEAN The Teaching Artist I suppose that in the broadest sense, art may be one of our greatest teachers. Be it a Bach Goldberg Variation, the brilliant economy of Britten’s or- chestration in Turn of the Screw, the music in the mad ruminations of King Lear, or the visual music of Miro, it is the stirring nature of such intense, insightful observation that moves us. Interestingly, these artistic epiphanies bear a remarkable resemblance to what happens during great teaching. And I believe that some of the many achieve- ments of Eastman alumni, faculty and students can be traced to great Eastman “teaching moments.” Like great art, great teaching is not merely the efficient transmission of knowl- NOTES edge or information, but rather a process by which music Volume 27, Number 2 or information gets illuminated by an especially insight- Summer 2009 ful light, thus firing our curiosity and imagination. Great teachers, like great artists, possess that “special light.” Editor It’s hard to define what constitutes good teaching. In David Raymond the academic world, we try to quantify it, for purposes Contributing writers of measurement, so we design teaching evaluations that Lisa Jennings Douglas Lowry hopefully measure the quality of the experience. Yet Helene Snihur when each of us is asked to describe our great teachers, Contributing photographers we end up being confounded, indeed fascinated, by the Richard Baker dominant intangibles; like music or other art, the price- Steve Boerner less stirring aspects we just can’t “explain.” Kurt Brownell Great music inspires us differently, depending on tem- Gary Geer Douglas Lowry Gelfand-Piper Photography perament, musical and intellectual inclinations, moods, Kate Melton backgrounds, circumstances and upbringings. -
Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20. -
Stafford L. JAMES Double Bass / Composer
Stafford L. JAMES Double Bass / Composer Date of Birth : April 24, 1946 6 Quai des Célestins Evanston, Illinois, U.S.A. 75004 PARIS - France Marital Status : Married Tel./Fax : 33 (1) 42.77.87.51 EDUCATION 1976/ Woody Shaw, "Little Red's Fantasy", Muse • Chicago Conservatory College 1981 "Live at Berlin", Muse Bass Studies "For Sure", C.B.S. Rudolf Fasbender, Major Professor "The Best of Woody Shaw", C.B.S. • Mannes College of Music "Master of the Art", Elektra Bass Studies "Night Music", Elektra Julius Levine, Major Professor "Live in Europe", Red Records Stylistic characteristics: Fluid Arco Style where Contrebass "Lotus Flower", Enja plays Melodies & Solos. 1983 Bill Hardman, "Focus", Muse Pizzicato : Singing Quality in approach. 1984 Cecil Payne, "Casbah" Empathy 1986 Jimmy Heath, "Peer Pleasure", Landmark 1988 Ronnie Mathews, "Salana's Dance", Timeless TEACHING EXPERIENCE 1989 Barney Wilen, "French Movie Themes", Timeless (Contrebass - Classic) 1990 Pharoah Sanders "Moon Child", Timeless "Ballads", Timeless • United Nations International School (73-76) - New York 1991 Lavelle, "Tribute - Nat King Cole" • Umbria Summer Music Clinics, Perugia (84-86) - Italy 1976 Stafford James, "Stafford James", Horo • The New School - NYC (86-88) 1980 "The Stafford James Ensemble", Red Records • Music Conservatory of Sydney Australia (81 and 82) SELECTION OF RECORDED ORIGINAL PERFORMANCE EXPERIENCE - JAZZ COMPOSITIONS Kenny Barron, Betty Carter, Al Cohn, Alice Coltrane, "Bertha Baptist " Gary Bartz (Fantasy), Dameronia, Sonny Fortune, Dexter Gordon, Slide Hampton, Harvey Mason (Arista), Jimmy Heath, Bobby Hutcherson, J.J. Johnson, Milt Jackson, Lee Ritenour (MCA) Melba Moore, Woody Shaw, Joe Williams, Nancy Wilson, "Sashia-nova" Woody Shaw (Muse), Mingus Dynasty, Freddy Hubbard, Jacky Maclean, Art Blakey, P.J. -
Occasioned to Wonder: Questions of Art and Life After the Death
OCCASIONED TO WONDER: QUESTIONS OF ART AND LIFE AFTER THE DEATH OF EVERYTHING by MICHAEL TOD EDGERTON Under the Direction of Jed Rasula ABSTRACT The critical portion of this dissertation looks at the compartmentalization of intellectual and aesthetic activity due to the rise of the academy and museum, and their detrimentally heightened state of specialized professionalization, in particular that of the artist and critic. Art has been alienated from its producers and audiences alike, producing a specialized discourse of criticism that can only appropriate art into the theoretical frameworks of aesthetic judgments, reducing them to functions of abstract principles of the idea of art. In this context, I inquire into the possibilities of a less appropriative mode of criticism, looking especially to the recent phenomenological turn in criticism for guidance, and testing the limit case proposition that the only legitimate criticism itself is artistic: the ekphrastic literary response or “translation” of art. As a critic searching out the proper landing point between methodological poles, I then look at artists Mark Dion and Olafur Eliasson, whose works attempt to activate the senses and a sense of community over and against “disinterested” critical discourse. As a literary artist, myself, I then present my own work that, like Dion and Eliasson’s, is both aesthetic and relational, opening a space for a kind of relational function within the aesthetic space of lyric writing, creating a hybrid genre literary art work that queries the ways people make meaning of their lives; struggle with doubt, pain, and fear; and forge connections with others and with the larger culture. -
0Alumnos Coleccion Savory, Articulo
http://www.elmundo.es/america/2010/08/23/gentes/1282577752.html Harlem recupera una colección de jazz de valor incalculable (23/08/2010) Ella Fitzgerald. I The jazz Museum in Harlem Una colección de casi mil discos con grabaciones inéditas de actuaciones en directo de grandes iconos del jazz, como Billie Holiday o Ella Fitzgerald, y mantenida en secreto durante cerca de 70 años, se ha convertido en la joya más preciada del Museo Nacional del Jazz de Harlem en Nueva York. "Tiene un valor incalculable. ¿Se puede poner precio a una estatua de un faraón de la que sólo existe un ejemplar? No", aseguró el director del museo, Loren Schoenberg, el responsable de su rescate después de años tras la colección. Con su llegada al barrio de Nueva York donde se gestaron variantes del jazz como el sonido bebop y se pasearon intérpretes como Charlie Parker (1920-1955), Harlem recupera un material básico para conocer la historia de la música nacida a finales del siglo XIX en Louisiana en el seno de las comunidades afroamericanas. La enigmática recopilación, que comprende más cien horas de música en directo, fue confeccionada entre 1935 y 1941 por el ingeniero de sonido William Savory, quien, aprovechando los recursos técnicos de su trabajo, grabó actuaciones únicas de los grandes nombres de la era dorada del jazz. La colección de Savory fue durante años una obsesión para el director del Museo Nacional de Jazz de Harlem, quien supo de su existencia en 1980 cuando, trabajando para el clarinetista Benny Goodman (1909-1986), conoció al ingeniero. -
LEGISLATIVE SOLUTION to the ORPHAN WORKS PROBLEM Laura N
Western New England Law Review Volume 34 34 (2012) Article 10 Issue 2 4-1-2012 COPYRIGHT—DON’T FORGET ABOUT THE ORPHANS: A LOOK AT A (BETTER) LEGISLATIVE SOLUTION TO THE ORPHAN WORKS PROBLEM Laura N. Bradrick Follow this and additional works at: http://digitalcommons.law.wne.edu/lawreview Recommended Citation Laura N. Bradrick, COPYRIGHT—DON’T FORGET ABOUT THE ORPHANS: A LOOK AT A (BETTER) LEGISLATIVE SOLUTION TO THE ORPHAN WORKS PROBLEM, 34 W. New Eng. L. Rev. 537 (2012), http://digitalcommons.law.wne.edu/ lawreview/vol34/iss2/10 This Note is brought to you for free and open access by the Law Review & Student Publications at Digital Commons @ Western New England University School of Law. It has been accepted for inclusion in Western New England Law Review by an authorized administrator of Digital Commons @ Western New England University School of Law. For more information, please contact [email protected]. 32073-wne_34-2 Sheet No. 103 Side A 08/21/2012 07:54:18 \\jciprod01\productn\W\WNE\34-2\WNE210.txt unknown Seq: 1 5-JUN-12 12:32 NOTES COPYRIGHT—DON’T FORGET ABOUT THE ORPHANS: A LOOK AT A (BETTER) LEGISLATIVE SOLUTION TO THE ORPHAN WORKS PROBLEM INTRODUCTION Coleman Hawkins, Lester Young, Billie Holiday, and Herschel Evans are just a few of the jazz masters from the 1930s and 1940s to resurface onto today’s music scene with previously unheard record ings.1 These jazz recordings were made by William Savory, an au dio engineer who recorded live performances from some of jazz’s greatest during that time period and kept the recordings