DOCSLIB.ORG

Oct-Nov 1979

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oct-Nov 1979 FEATURES: GENE KRUPA VARI-PITCH SYNDRUMS MICHAEL This special tribute issue The inventor of Pearl's Electronic wizards Joe SHRIEVE honors the legendary Vari-Pitch, Randy May, Pollard and David William- At 17, Michael Shrieve Gene Krupa. A master discusses the instrument son designed the unique became the drummer for of the instrument, Krupa and its obvious ad- and increasingly popular the innovative group created a respectable vantages for drummers. Syndrum. The two relate Santana. Shrieve gained place in the music world Photographs of the oscil- the difficulties getting much acclaim for his for drummers. We've loscope used to test Vari- a new product on the drumming prowess and pointed out the high- Pitch sound waves are market, and why drum- discusses his approach to lights of Krupa's suc- also a part of this special mers will find the Syn- drums. Shrieve also ex- cessful career (which report. 28 drum a welcome addition plains his reasons for spanned nearly five de- to their set-up. 29 leaving Santana and cades) in words, pictures eventually forming his and musical transcrip- own group, Patterns. 30 tions. 12 COLUMNS: EDITOR'S OVERVIEW COMPLETE PERCUSSIONIST READERS' PLATFORM Interpretating Marches by David L. Codrey ASK A PRO TEACHER'S FORUM IT'S QUESTIONABLE Finding the Right Teacher JAZZ DRUMMER'S WORKSHOP: by Peter Magadini Foundational Studies for Ride Cymbal Technique PRINTED PAGE by Ed Soph SOUTH OF THE BORDER ROCK PERSPECTIVES Brazilian Percussion Developing Hand/Foot Coordination by Norbert Goldberg by David Garibaldi DRUM MARKET DRIVER'S SEAT More on Phrasing INDUSTRY HAPPENINGS by Butch Miles IN MEMORIAM JUST DRUMS STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Cheech Iero Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake PRODUCTION MANAGER: Roger Elliston Gene Krupa was once quoted as saying: "I'm happy I succeeded in doing two things; I made the drummer a high priced guy, and I was able ADVERTISING DIRECTOR: Jean Mazza to project enough so that I could draw more people to jazz." Without a doubt, an unpretentious opinion of a musical contribution which was ADMINISTRATION: Isabel Lori considerably more extensive than Gene chose to give himself credit for. Ann Lambariello Prior to Gene Krupa, the drummer was not nearly as respected a musician as he is today. Outside of basic timekeeping and supplying DEALER SERVICE background novelty effects, the role of the drummer had never been clearly MANAGER: Carolyn Padner defined. The potential of the instrument hadn't been fully realized. Krupa changed all this. He gave the drummer an identity. He transported CIRCULATION: Leo L. Spagnardi the instrument from the shadowy background to the center stage spotlight. Marilyn Miller And in the process, the drummer was given his opportunity to be a star, Nancy Schuller a leader, a key member of every musical aggregation that was to follow. Few drummers haven't been influenced in some way by Krupa's playing. His drumming concepts, passed down from one player to another, are actually a part of us all. His 1979 nomination to the Modern MD ADVISORY BOARD: Drummer Hall of Fame was still another indication of the respect and admiration drummers of all ages have for Gene Krupa. Henry Adler Mel Lewis Surely there's not a percussion manufacturer or music publisher Carmine Appice Peter Magadini in existence who doesn't owe a debt of gratitude to Krupa. The development Horacee Arnold Mitch Markovich of the modern day drum set as we know it was certainly a result of the Louie Bellson Butch Miles influence Gene had on the evolution of the entire percussion industry. Roy Burns Joe Morello An influence which was indeed far-reaching and all encompassing. Jim Chapin Charley Perry This issue has been on the drawing board for the past six months. Billy Cobham Charlie Persip We've tried to capture the essence of the man and his music through words Joe Corsello Joe Pollard and pictures. Along with a career profile, we've included a discography, Les DeMerle Arthur Press several transcriptions, a look at the small group years, Gene's personal Len DiMuzio Paul Price thoughts on drumming, and comments from musical figures who knew Randy Hess Ed Shaughnessy and loved him. Sonny Igoe Lenny White Whenever a publication undertakes a project of this magnitude, Don Lamond there are many people to thank: Roy Anderson of the Gene Krupa Jazz Association, the staff of the Rutgers University Jazz Institute, Peter Mallon, Henry Adler and Cozy Cole. And special thanks to the late MODERN DRUMMER Magazine (ISSN Roy Knapp, dean of drum instructors and loyal supporter of the Krupa 0194-453311 is published bi-monthly. February. legacy, who passed away just prior to the release of this issue. Finally, April. June. August, October and December by mention must go to MD's Features Editor Karen Larcombe who Modern Drummer Publications, Inc., 1000 Clif- ton Avenue, Clifton. NJ. 07013. Second class was responsible for coordinating the entire project. As coordinator, she postage paid at Clifton, NJ. 07013 and at ad- researched scores of sources, wrote tons of letters, made hundreds of phone ditional mailing offices. Copyrighted 1979 by calls and weeded through piles of photographs to move this issue from Modern Drummer Publications, Inc. All rights a concept to the finished product. Also, the credit for our original reserved. Reproduction without the permission cover art design goes to Tom Mandrake, MD's new and very talented of the publisher is prohibited. SUBSCRIP- Art Director. TIONS: 59.95 per year. $19.00. two years. I never had the privilege of meeting Mr. Krupa, a fact I deeply regret. Single copies $1.75. MANUSCRIPTS: Modern However, during my years as editor of MD, I have had the opportunity Drummer welcomes manuscripts, however, can- to associate with many musicians who knew him well. The consensus of not assume responsibility for them. Manu- scripts must be accompanied by a self-addressed opinion has never wavered; friendly, serious, dedicated, self-disciplined, a stamped envelope. CHANGE OF ADDRESS: total musician. Gene was a man obviously respected by everyone he came Allow at least six weeks for a change. Please in contact with. Though I never knew him, I think it's apparent that provide both old and new address. MUSIC had it not been for Gene Krupa, there probably would not have been DEALERS: Modern Drummer is available for a reason for the existence of the publication you're reading at this moment. resale at bulk rates. Direct correspondence to In light of this, MD dedicates this issue in its entirety to the memory of Modern Drummer Publications. Inc., 1000 Clif- Gene. A man especially important to me, as he should be to each ton Avenue, Clifton. NJ. 07013. (201) 778-1700 and every one of us. POSTMASTER: Send form 3579 to Modern Drummer. WOO Clifton Avenue. Clifton. NJ. 07013. I have been waiting to write this letter with hopes that possibly you would rectify the situation, but since you haven't, I am com- pelled to write. I am speaking of Keith Moon, the late drummer for the Who. You have failed to mention him since his death in the fall of last year. Moon was a pioneer in rock drumming. He lifted the drummer's role from a timekeeper only, to that of a creative, musical voice in the I enjoyed the interviews with Bernard Pur- I was thrilled to hear of a Gene Krupa band. He was a stylistic performing in- novator, whose playing brought the rock die, Grady Tate, Herb Lovelle and Ralph commemorative issue. I'm sure many MacDonald in your May/June issue. All drummers will appreciate what you are do- drummer into the limelight. Listen to his the articles were top rate. After having ing to make available past impressions of work on Tommy, or early singles like "I read the entire magazine, I still find myself maybe the most important single man in Can See For Miles." These works, as well picking it up every now and then and re- drumming history. as his other studio and live work with the Who attest to his creative genius. As a reading all of the material. I know now I'd like to relate an experience I had drummer and a fan, I feel a great debt to that in the future I'll always look forward with Mr. Krupa in the fall of 1963 when I him for the musical inspiration, entertain- to the upcoming issue of your magazine. was a senior in high school in a small ment and listening enjoyment he provided JODY ROBERTSON Missouri town. Gene Krupa was to appear me and his countless fans. I feel that your HURST, TX at the Crystal Palace in Gas Light Square. failure to mention Keith Moon's death was I hitched to St. Louis to see Gene Krupa a gross oversight (which I hope it was). and saw a good show with Charlie Ven- LEE NEGIN tura on sax. After the show, Gene dis- appeared behind a curtain and so I hopped WEBBERVILLE, MI on stage to follow him. The stage manager tried to stop me. Gene heard us shouting on the stairs and told the stage manager to let me in. I couldn't believe it, I was ac- tually going into Gene Krupa's dressing There are so many variables to drumming room. He was very nice and he wanted me that it is truly frustrating at times. Pedals, to know I was welcome and that he wasn't cymbals, heads, sticks, drums, stands, just going to throw me out.
Load more

Recommended publications
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • Introducing Experience: the Band
    THE MEMBER PUBLICATION OF EMP|SFM WINTER 2008 Introducing Experience: The Band New Jimi Hendrix Exhibition Science Fiction Short Film Festival 2008 Sound Off! 2008 From the Cover • Experience: The Band members: • Austin DeVries, age 15, Meadowdale High School, drums and guitar, inspired by Muse and The Strokes • Spencer Doren, age 17, Mercer Island High School, bass, inspired by Kevin Eubanks and Tool • Olivia Kosaka, age 15, Holy Names Academy, vocals, inspired by Janis Joplin, Regina Spektor • Taylor Lloyd, age 12, Stahl Jr. High School, guitar, inspired by Metallica, Stevie Ray Vaughan • Grace Noah, age 13, Seattle Let the Rocking Out Begin! Country Day School, vocals and guitar, inspired by Paramore In October, an innovative rock band program at EMP|SFM was born. Nine musicians from diverse backgrounds held their first practice session and embarked on a musical journey that could take them • Nathan Read, age 17, New to one of the most acclaimed music schools in the country. Horizon, keyboards and drums, inspired by Cradle of Filth and Experience: The Band is a part of the Berklee City Music Network, a scholarship program and partnership between Experience Music Godsmack Project|Science Fiction Museum and Hall of Fame (EMP|SFM) and the Berklee College of Music in Boston. Members of Experience: The • Robin Sadinsky, age 15, Band receive weekly music lessons by Seattle Berklee instructors Garfield High School, guitar, and practice as a rock band. Members study theory and composition, inspired by The Beatles utilize state-of-the-art online learning materials and perform concerts at EMP|SFM. • David E.
    [Show full text]
  • History of the Drum Set
    History of the Drum Set The drum set is as American as baseball, hotdogs, and apple pie. The instrument as it currently exists has seen a great deal of evolution and development. From its infancy at the start of the 20 th century to the innovations that are currently taking place, it has developed into the most visible and widely used instruments in the percussion family. Late 1800’s Brass bands were the most common type of instrumental ensemble in the United States in the later half of the 19 th century. Every town in America had bandstands were concerts were held and perhaps the reason for their existence can be attributed in part to the Civil War. Every military unit had its own squad of musicians, usually formed according to locality. Occasionally some bands stayed together after the war, while others disbanded. Each brass band consisted of two or more drummers that played snare, bass, and cymbals. In addition to marching parade commitments, these bands sometimes moved “indoors” entertaining patrons in concert providing music for occasions such as picnics and town socials. When these groups moved inside, the standard instrumentation was cut down somewhat for practical reasons. Because of this, the need for two or more drummers decreased and resourceful inventions began to flourish. The concept of one drummer playing two or more rhythms was made possible through the creation of the snare drum stand and bass drum pedal. Before the snare stand, drummers would hang the drum from their shoulder with a strap or sling, or position the drum on a chair.
    [Show full text]
  • Thad Jones Discography Copy
    Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr.
    [Show full text]
  • 15-3703H I Want to Be Happy (SATB) Shackley
    2 I Want to Be Happy (Selections from the Broadway Musical,“No, No, Nanette”) SATB and Piano* Lyrics by Irving Caesar Music by Vincent Youmans and Otto Harbach Arranged by Larry Shackley 1 With flair = ca. 92 h 2 œ. ˙ œ. ˙ œ. œ & 2 œœ ˙˙ œœ ˙˙ œœ œœ f ? 2 2 œ ˙ œ ˙ œ œ œ. ˙ œ. ˙ œ. œ 3 SA “I Want to Be Happy” f & ˙ ˙ œ w ∑ œI want toœ be hapœ - py, TB f ? œ ˙ œ ˙ œ œ w ∑ w ˙ œ. ˙ œ. ˙ œ. œ & ww ˙˙ Ó œœ ˙˙ œœ ˙˙ œœ œœ >œ >œ >œ ? œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ œ > > > œ 7 œ > œ. ˙ œ. ˙ œ. œ & ˙ ˙ œ œ Œ ˙ ˙ butœ I won’tœ be hapœ - py till˙ ˙I make˙ ˙ ˙ ˙ ? œ ˙ œ ˙ œ œ œ Œ ˙ ˙ ˙ ˙ ww ˙˙ & w ˙ Ó ˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙˙ >œ >œ > ? œ œ œ œ œ w ˙ ˙ œ œ œ œ œ œ œ ˙ > œ > > w ˙ Duration:œ approx. 4:30 > > *Also available: Performance/Accompaniment CD (99/4082H). © 2020 Heritage Music Press, a division of The Lorenz Corporation. All rights reserved. Printed in U.S.A. Unauthorized reproduction of this publication is a criminal offense subject to prosecution. Copying this music is illegal. A license from CCLI or OneLicense does not grant permission to copy. 15/3703H-2 www.lorenz.com SW 3 2 Easy shuffle = ca. 112( = ) 3 11 molto rit. q q q q e U F ˙ 4 b & w ˙ 4 w ∑ b bb youw hap˙ - py˙ too!w w U F w ˙ ˙ w ? 4 w ∑ b b 4 3 b b Easy shuffle = ca.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Freddie Green Chords
    Swinging Strategies for Jazz Ensemble Guitarists Dave Ness, presenter Outline I. Freddie Green A. THE Big Band Swing Style B. Count Basie II. Equipment A. Guitar 1. Full Hollow-body Guitar 2. Amp III. Chords for Swing charts A. Freddie Green Style 1. 4 to the bar 2. Chord Shapes 3. 5th and 6th String 4. Theory 5. Tablature and chord charts B. Bb Blues examples C. Freddie Green listening Example “Hail to the Chief” IV. Reading Notes A. All the Notes in 1st position V. Other styles A. Bossa 1.Girl From Ipanema Dave Ness [email protected] [email protected] ​ ​ Chicago Jazz Magazine said of Dave Ness, “there is no ​ ​ denying his superlative skill on the guitar.” A sought-out educator and clinician for nearly 25 years, Dave has directed jazz ensembles for several colleges and high schools, including Northwestern University and Carthage College. Dave has been studying Freddie Green guitar style since 1990 and in 1999 his article on Freddie Green was published in the Jazz Educators Journal. Currently Dave teaches guitar and jazz ensemble as well as AP Music Theory and Music Production and Sound Engineering at ​ ​ Libertyville High School. Dave has released three albums (with all original compositions) with ​ the Dave Ness Trio: “Sketches,” “Layers,” and his 2018 release “Grooveness.” His website can be found at www.daveness.net ​ Freddie Green: Birth of a Style by David Ness Background Frederick William Greene, born 1911, anchored Count Basie’s rhythm section from 1937 until his death in 1987 with few interruptions. A self-taught guitarist, Green (as he preferred to spell it) was a devoted member of the band.
    [Show full text]
  • January 1988
    VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J.
    [Show full text]
  • 1 FLORIDA BANDMASTERS ASSOCIATION SOLO and ENSEMBLE LIST – PERCUSSION and PIANO Rev
    1 FLORIDA BANDMASTERS ASSOCIATION SOLO AND ENSEMBLE LIST – PERCUSSION AND PIANO Rev. 2003 G COMPOSER/ARRANGER TITLE PUB R SIG FBA EVENT O CODE A LIT CODE O D P E BELWIN CLASSIC FESTIVAL SOLOS MALLET PERCUSSION VOL 1 (P 2-7 ANY 1) BEL 1 MA1001 MALLET SOLO BELWIN CLASSICAL FESTIVAL BOOK FOR MALLETS VOL.2 (P.2 - 8 ANY 1) BEL 1 MA1002 MALLET SOLO BELWIN CLASSIC FESTIVAL SOLOS MALLET PERCUSSION VOL 1 (P 8-15 ANY 1) BEL 2 MA2001 MALLET SOLO BELWIN CLASSICAL FESTIVAL BOOK FOR MALLETS VOL.2 (P.10 - 16 ANY 1) BEL 2 MA2002 MALLET SOLO GREIG / ROY EROTIK MMP 2 MA2003 MALLET SOLO RAMEAU / SCARMOLIN / MEISTER LA VILLAGEOISE LUD 2 MA2004 MALLET SOLO SIENNICKI TWO SHORT PIECES (1 MVT) LUD 2 MA2005 MALLET SOLO TCHAIKOWSKY / LEBON FOLK SONG (ALBUM FOR THE YOUNG) EMP 2 MA2006 MALLET SOLO BACH / MARTEAU / MEISTER ANDANTE CANTABILE LUD 3 MA3001 MALLET SOLO BARTOK/MIESTER EVENING IN THE COUNTRY LUD 3 MA3002 MALLET SOLO BEETHOVEN / NAGY / MEISTER TURKISH MARCH LUD 3 MA3003 MALLET SOLO BOCCHERENI EDWARDS MINUET (MARIMBA) RU 3 MA3004 MALLET SOLO BRAHMS / QUICK HUNGARIAN DANCE NO 5 (MARIMBA) RU 3 * MA3005 MALLET SOLO DONT / MEISTER BON VIVANT LUD 3 MA3006 MALLET SOLO DRIGO / ROY PIZZICATO MMP 3 MA3007 MALLET SOLO GABRIEL / MARIE / EDWARDS LA CINZUANTAINE (MARIMBA) RU 3 MA3008 MALLET SOLO GOUNOD / ROY FUNERAL MARCH OF A MARIONETTE MMP 3 MA3009 MALLET SOLO GREEN ARABIAN MINUTE DANCE (XYL) CF 3 MA3010 MALLET SOLO GREIG / ROY NORWEGIAN DANCE MMP 3 MA3011 MALLET SOLO HAYDN / BARNES GYPSY RONDO LUD 3 MA3012 MALLET SOLO HAYDN / NAGY / MEISTER MENUET LUD 3 MA3013 MALLET SOLO LECUONA / PETERSON MALAGUENA (XYL OR MAR) HL 3 * MA3014 MALLET SOLO LEONARD SOLOIST FOLIO FOR MARIMBA OR XYLOPHONE (P.
    [Show full text]
  • It's All Good
    SEPTEMBER 2014—ISSUE 149 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM JASON MORAN IT’S ALL GOOD... CHARLIE IN MEMORIAMHADEN 1937-2014 JOE • SYLVIE • BOBBY • MATT • EVENT TEMPERLEY COURVOISIER NAUGHTON DENNIS CALENDAR SEPTEMBER 2014 BILLY COBHAM SPECTRUM 40 ODEAN POPE, PHAROAH SANDERS, YOUN SUN NAH TALIB KWELI LIVE W/ BAND SEPT 2 - 7 JAMES CARTER, GERI ALLEN, REGGIE & ULF WAKENIUS DUO SEPT 18 - 19 WORKMAN, JEFF “TAIN” WATTS - LIVE ALBUM RECORDING SEPT 15 - 16 SEPT 9 - 14 ROY HARGROVE QUINTET THE COOKERS: DONALD HARRISON, KENNY WERNER: COALITION w/ CHICK COREA & THE VIGIL SEPT 20 - 21 BILLY HARPER, EDDIE HENDERSON, DAVID SÁNCHEZ, MIGUEL ZENÓN & SEPT 30 - OCT 5 DAVID WEISS, GEORGE CABLES, MORE - ALBUM RELEASE CECIL MCBEE, BILLY HART ALBUM RELEASE SEPT 23 - 24 SEPT 26 - 28 TY STEPHENS (8PM) / REBEL TUMBAO (10:30PM) SEPT 1 • MARK GUILIANA’S BEAT MUSIC - LABEL LAUNCH/RECORD RELEASE SHOW SEPT 8 GATO BARBIERI SEPT 17 • JANE BUNNETT & MAQUEQUE SEPT 22 • LOU DONALDSON QUARTET SEPT 25 LIL JOHN ROBERTS CD RELEASE SHOW (8PM) / THE REVELATIONS SALUTE BOBBY WOMACK (10:30PM) SEPT 29 SUNDAY BRUNCH MORDY FERBER TRIO SEPT 7 • THE DIZZY GILLESPIE™ ALL STARS SEPT 14 LATE NIGHT GROOVE SERIES THE FLOWDOWN SEPT 5 • EAST GIPSY BAND w/ TIM RIES SEPT 6 • LEE HOGANS SEPT 12 • JOSH DAVID & JUDAH TRIBE SEPT 13 RABBI DARKSIDE SEPT 19 • LEX SADLER SEPT 20 • SUGABUSH SEPT 26 • BROWN RICE FAMILY SEPT 27 Facebook “f” Logo CMYK / .eps Facebook “f” Logo CMYK / .eps with Hutch or different things like that. like things different or Hutch with sometimes.
    [Show full text]
  • Newsletternewsletter March 2015
    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
    [Show full text]
  • Guide to the Milt Gabler Papers
    Guide to the Milt Gabler Papers NMAH.AC.0849 Paula Larich and Matthew Friedman 2004 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Personal Correspondence, 1945-1993..................................................... 5 Series 2: Writings, 1938 - 1991............................................................................... 7 Series 3: Music Manuscripts and Sheet Music,, 1927-1981.................................. 10 Series 4: Personal Financial and Legal Records, 1947-2000...............................
    [Show full text]