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JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES and NIGHTLIFE 1937-1962″ Posted on February 20, 2014
From Michael Steinman’s blog JAZZ LIVES MAY YOUR HAPPINESS INCREASE. Jazz: where "lives" is both noun and verb JAZZ WORTH READING: “THE BOSTON JAZZ CHRONICLES: FACES, PLACES AND NIGHTLIFE 1937-1962″ Posted on February 20, 2014 Some of my readers will already know about Richard Vacca’s superb book, published in 2012 by Troy Street Publishing. I first encountered his work in Tom Hustad’s splendid book on Ruby Braff, BORN TO PLAY. Vacca’s book is even better than I could have expected. Much of the literature about jazz, although not all, retells known stories, often with an ideological slant or a “new” interpretation. Thus it’s often difficult to find a book that presents new information in a balanced way. BOSTON JAZZ CHRONICLES is a model of what can be done. And you don’t have to be particularly interested in Boston, or, for that matter, jazz, to admire its many virtues. Vacca writes that the book grew out of his early idea of a walking tour of Boston jazz spots, but as he found out that this landscape had been obliterated (as has happened in New York City), he decided to write a history of the scene, choosing starting and ending points that made the book manageable. The book has much to offer several different audiences: a jazz- lover who wants to know the Boston history / anecdotal biography / reportage / topography of those years; someone with local pride in the recent past of his home city; someone who wishes to trace the paths of his favorite — and some obscure — jazz heroes and heroines. -
Making Musical Magic Live
Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Bachelor of Science in Computer Science and Engineering Massachusetts Institute of Technology, 2012 Master of Sciences in Media Arts and Sciences Massachusetts Institute of Technology, 2014 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology February 2020 © 2020 Massachusetts Institute of Technology. All Rights Reserved. Signature of Author: Benjamin Arthur Philips Bloomberg Program in Media Arts and Sciences 17 January 2020 Certified by: Tod Machover Muriel R. Cooper Professor of Music and Media Thesis Supervisor, Program in Media Arts and Sciences Accepted by: Tod Machover Muriel R. Cooper Professor of Music and Media Academic Head, Program in Media Arts and Sciences Making Musical Magic Live Inventing modern production technology for human-centric music performance Benjamin Arthur Philips Bloomberg Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 17 2020, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Media Arts and Sciences at the Massachusetts Institute of Technology Abstract Fifty-two years ago, Sergeant Pepper’s Lonely Hearts Club Band redefined what it meant to make a record album. The Beatles revolution- ized the recording process using technology to achieve completely unprecedented sounds and arrangements. Until then, popular music recordings were simply faithful reproductions of a live performance. Over the past fifty years, recording and production techniques have advanced so far that another challenge has arisen: it is now very difficult for performing artists to give a live performance that has the same impact, complexity and nuance as a produced studio recording. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
SLINGERLAND a DRUMS Sommur!
has a Coleman Hawkins LP coming Jaki Byard quintet and big band... Strictly Ad Lib called Soul, with Hawk joined by Warren Covington’s Tommy Dorsey Kenny Burrell, Ray Bryant, Osie band may figure in a British band (Continued from page 8) Johnson, and Wendell Marshall. swap with a Cha-Cha-Cha band Bryant taught Hawk Greensleeves headed by Rico coming here . Wess . Willie (The Lion) Smith, for the date . Bob Corwin took Sidney Becht recovered from a re Sonny Terry, Zoot Sims, Sol Yaged, over the piano chair from Bill Trig cent illness. He had a bronchitis Candido, and Big Miller had guest lia with Anita O’Day . United attack in mid-fall . George Lewis Shots on the United Artists record Artists cut Martin Williams’ History is figuring in a possible swap for ing of the Living History of Jazz at of the Jazz Trumpet LP late in England, in conjunction with Lewis' the Apollo, with Herb Pomeroy’s December . Roy Haynes’ group, European tour this spring ... In band and narrator John McLellan. with Hank Mobley, Curtis Fuller, siders in the east point out that Symphony Sid reports he plans to Richard Wyandes, and Doug Wat Jack Lewis first cut Shorty Rogen take a septet to Europe in the spring kins, did a concert for the Orange and the early west coast sides, not for a Birdland tour, and hopes to County community college jazz club Bob York as carried in Los Angeles include Johnny Griffin, Lee Morgan, in mid-December. Ad Lib recently. Curtis Fuller, Pepper Adams, Tom Lou Donaldson signed with Blue Ed Thigpen is reported leaving my Flanagan, and Bud Powell . -
The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
THE SYNTHESIS OF JAZZ AND CLASSICAL STYLES IN THREE PIANO WORKS OF NIKOLAI KAPUSTIN __________________________________________________ A monograph Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS __________________________________________________________ by Tatiana Abramova August 2014 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Professor of Piano Harvey Wedeen, Professor of Piano Dr. Cynthia Folio, Professor of Music Studies Richard Oatts, External Member, Professor, Artistic Director of Jazz Studies ABSTRACT The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin Tatiana Abramova Doctor of Musical Arts Temple University, 2014 Doctoral Advisory Committee Chair: Dr. Charles Abramovic The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Spring Weekend Coming
®f)e Jleto i)amp§f)tre VOL. 52 ISSUE 21 UNIVERSITY OF NEW HAMPSHIRE, DURHAM, N. H. — FEBRUARY 28, 1963 TEN CENTS Advisers, Grades Tour-Guide Plan To Be Subject “I hope that the program will meet on-the-spot needs as well as those planned in ad vance,” said Ronald Barrett, Of Conference Director of the Memorial Un ion, about the proposed Tour Guides Program which was ap The faculty adviser problem selected because grades affect proved recently by the Univers and the grading system will be all students in the University. ity Trustees. It will provide a the topics of discussion at the Several improvements have central information c e n t er , Twelfth Annual Conference on been proposed to perfect the probably at the Union, for par Campus Affairs to be held in present grading system. The ents and other visitors and the Memorial Union this Satur Educational Research Commit have available student guides day, March 2. tee feels that an 8.0 system to show guests around the cam Sponsored by the Educational would be fairer to the student pus. Research Committee of the than the 4.0 system. The program which has been Student Senate, two representa With this system, the students in the planning for a year needs tives from each campus housing obtaining an 81 and an 89 would funds now to make it a reality, unit will attend. not both receive the same grade, according to Mr. Barrett. Stud The purpose of the annual but instead would receive a B- ents wishing to participate as conference is to provide students and a B-I-, respectively. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
I Know, Don't Know How Full Score
Jazz Lines Publications Presents i know, don’t know how Arranged by bob brookmeyer prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score jlp-8417 Music by Gerry Mulligan © 1955-1983 Criterion Music Corporation All Rights Reserved Used By Permission International Copyright Secured Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. This Arrangement Has Been Authorized by the Gerry and Franca Mulligan Foundation Inc. 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 gerry mulligan concert jazz band series i know, don’t know how (1960) Background: Gerry Mulligan’s role in the history of jazz is that of a renaissance man. For most, he is considered one of, if not the, greatest baritone saxophonist the music has seen. In addition to his prowess as an instrumentalist, his skills as a composer and arranger are also viewed as being among the top in the art form. Perhaps less frequently ac- knowledged is his creativity as a bandleader, having been one of the pioneers of using a rhythm section without chordal accompaniment in several different formats. Born in Queens, NY on April 6, 1927, Mulligan found himself frequently moving around as a child due to his fa- ther’s work as an engineer. From an early age, Mulligan’s father instilled a pronounced sense of organization and discipline into the youngest of his four sons, traits that would serve an integral role in the young Mulligan’s musi- cal education. -
Boston Symphony Orchestra Concert Programs, Summer, 1992
Kattl hlCL^WOOD I ? 7 2 W Toofc ofExcellence In every discipline, outstanding performance springs from the combination of skill, - vision and commitment. As a technology leader, GE Plastics is dedicated to the development of advanced materials: engineering thermoplastics, silicones, superabrasives and circuit board substrates. Like the lively arts that thrive in this inspiring environment, we enrich life's quality through creative excellence. GE Plastics -> Jazz At Tanglewood WM Friday, Saturday, and Sunday August 28, 29, and 30, 1992 Tanglewood, Lenox, Massachusetts '-•' Friday, August 28, at 7:30 p.m. THE MODERN JAZZ QUARTET RAY CHARLES Koussevitzky Music Shed Saturday, August 29 at 4 :30 p.m. CHRISTOPHER HOLLYDAY QUARTET REBECCA PARRIS and the GEORGE MASTERHAZY QUARTET Theatre-Concert Hall at 7:30 p.m. MAUREEN McGOVERN and MEL TORME with the HERB POMEROY BIG BAND Koussevitzky Music Shed Sunday, August 30 at 4 :30 p.m. GARY BURTON AND EDDIE DANIELS Theatre-Concert Hall at 7:30 p.m. DAVE BRUBECK QUARTET WYNTON MARSALIS Koussevitzky Music Shed ARTISTS The Modern Jazz Quartet Gibbs in the Woody Herman Second Herd. The following year he rejoined the Gillespie band, eventually becoming a founding member of the Modern Jazz Quartet. Among the many compositions Mr. Jackson contributed to the group, "Bags' Groove" has become a classic. During the members' annual vacation from the MJQ, Milt Jack- son assembles various groups of musicians to record albums under his own name and to play occasional engagements. Recently he returned to his bebop roots for an album aptly entitled Be Bop. Bass player Percy Heath was born in Making a return Tanglewood appearance, Wilmington, North Carolina, and grew up the Modern Jazz Quartet has a unique in Philadelphia. -
Charlie Mariano and the Birth of Boston Bop
Charlie Mariano and the Birth of Boston Bop By Richard Vacca The tributes to alto saxophonist Charlie Mariano that have appeared since his death on June 16, 2009 have called him an explorer, an innovator, and a musical adventurer. The expatriot Mariano was all of those things—a champion of world music before anyone thought to call it that. Mariano was known for the years he spent crisscrossing Europe and Asia, but his musical career began in Boston, the city where he was born. In the years between 1945 and 1953, he was already an explorer and innovator, but his most important role was as a leader and catalyst. He helped build the founda- tion of modern jazz in Boston on three fronts: as soloist in the Nat Pierce Orchestra of the late 1940s, as a bandleader cutting the records that introduced Boston’s modern jazz talent to a wider world in the early 1950s, and as the founder of the original Jazz Workshop in 1953. Born in 1923, Mariano grew up in Boston’s Hyde Park district in a house filled with music. His father loved opera, his sister played piano, and starting in his late teens, Charlie himself played the alto saxo- phone, the instrument for which he was best known throughout his life. By 1942, Mariano was already making the rounds on Boston’s buckets of blood circuit. The following year he was drafted. It was Mariano’s good fortune to spend his two years in service playing in an Army Air Corps band, and while stationed in California, he heard Charlie Parker for the first time. -
February 23 @ 7Pm Et
VISION RESIDENCY MENASAFIED FEBRUARY 23 @ 7PM ET MENASAFIED FEBRUARY 23 @ 7PM ET FEATURING GEORGE ABUD JONATHAN RAVIV VISHAL VAIDYA SHERZ ALETAHA SHARONE SAYEGH KUHOO VERMA SHOBA NARAYANAN THE TEAM Directed by SHARONE SAYEGH Arranged & Music Directed by MONA SEYED-BOLORFOROSH Music Produced, Mixed & Mastered by JACKLYN RIHA Videography & Video Editing by BRIAN VINIK VIRTUAL BAND Bansuri SRISHTI BIYANI Bass & Kanun JOHN MURCHISON Clarinet TANO BROCK Piano MONA SEYED-BOLORFOROSH Violin BENGISU GÖKÇE Tabla, Dolak, Durbuka, Riq, Darbuka, Frame Drum, Talking Drum & Udu MT ADITYA SRINIVASAN Djembe & Doumbek GILBERT MANSOUR Guitar & Oud HARVEY VALDES Curated by Vision Resident RONA SIDDIQUI THE ARTISTS WOULD LIKE TO THANK Rona Siddiqui, Jamshied Sharifi, Lee Poulin & Joe Tannenbaum. Ars Nova operates on the unceded land of the Lenape peoples on the island of Manhahtaan (Mannahatta) in Lenapehoking, the Lenape Homeland. We acknowledge the brutal history of this stolen land and the displacement and dispossession of its Indigenous people. We also acknowledge that after there were stolen lands, there were stolen people. We honor the generations of displaced and enslaved people that built, and continue to build, the country that we occupy today. We gathered together in virtual space to watch this performance. We encourage you to consider the legacies of colonization embedded within the technology and structures we use and to acknowledge its disproportionate impact on communities of color and Indigenous peoples worldwide. We invite you to join us in acknowledging all of this as well as our shared responsibility: to consider our way forward in reconciliation, decolonization, anti-racism and allyship. We commit ourselves to the daily practice of pursuing this work.