DOCSLIB.ORG

General Catalog 2019–2020 / Edition 19 Academic Calendar 2019–2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
General Catalog 2019–2020 / Edition 19 Academic Calendar 2019–2020 BERKELEY GENERAL CATALOG 2019–2020 / EDITION 19 ACADEMIC CALENDAR 2019–2020 Spring Semester 2019 Auditions for Spring 2019 By Appointment Academic and Administrative Holiday Jan 21 First Day of Spring Instruction Jan 22 Last Day to Add / Drop a Class Feb 5 Academic and Administrative Holiday Feb 18 Spring Recess Mar 25 – 31 Last Day of Instruction May 10 Final Examinations and Juries May 13 – 17 Commencement May 19 Fall Enrollment Deposit Due on or before June 1 Fall Registration Jul 29 – Aug 2 Fall Semester 2019 Auditions for Fall 2019 By May 15 New Student Orientation Aug 15 First Day of Fall Instruction Aug 19 Last Day to Add/Drop a Class Sep 1 Academic and Administrative Holiday Sep 2 Academic and Administrative Holiday Nov 25 – Dec 1 Spring 2020 Enrollment Deposit Dec 2 Last Day of Instruction Dec 7 Final Examinations and Juries Dec 9 – 13 Winter Recess Dec 16 – Jan 21, 2020 Spring Registration Jan 6 – 10, 2020 Spring Semester 2020 Auditions for Spring 2020 By Oct 15 First Day of Spring Instruction Jan 21 Last Day to Add / Drop a Class Feb 3 Academic and Administrative Holiday Feb 17 Spring Recess Mar 23 – 27 Last Day of Instruction May 8 Final Examinations and Juries May 11 – 15 Commencement May 17 Fall 2020 Enrollment Deposit Due on or before June 1 Fall 2020 Registration July 27 – 31 Please note: Edition 19 of the CJC 2019 – 2020 General Catalog covers the time period of July 1, 2019 – June 30, 2020. B 1 CONTENTS ACADEMIC CALENDAR ............... Inside Front Cover The Bachelor of Music Degree in Jazz Studies Juries ............................................................... 25 ABOUT THE CALIFORNIA JAZZ CONSERVATORY Senior Project .................................................. 25 Message from the President ........................... 2 Performance .................................................... 25 History and Programs ..................................... 3 Core Courses: Instrumental Track ................... 26 Vision, Mission, Goals & Objectives ................ 4 Core Courses: Vocal Track .............................. 26 State Licensure ................................................ 6 Elective Courses .............................................. 26 Accreditation ................................................... 6 General Studies Courses ................................. 26 Questions or Complaints ................................ 6 Independent Study ......................................... 27 Facilities and Student Services ....................... 6 Keyboard Proficiency ...................................... 27 Library ............................................................. 6 Workshops and Master Classes ...................... 27 Record-Keeping .............................................. 7 Berkeley City College ..................................... 7 The Associate of Arts Degree in Jazz Studies Curriculum Requirements ............................... 27 GENERAL INFORMATION Residency Requirements ................................. 27 Admission Requirements ................................ 8 Juries ............................................................... 27 Auditions ......................................................... 8 Performance .................................................... 28 Placement Examinations ................................. 8 Core Courses: Instrumental Track ................... 28 Tuition and Supplemental Fees ..................... 8 Core Courses: Vocal Track .............................. 28 Private Instruction .......................................... 11 Elective Courses .............................................. 28 Scholarships and Prizes .................................. 11 General Studies Courses ................................. 28 Work Study ..................................................... 11 Keyboard Proficiency ...................................... 28 Code of Academic Integrity .......................... 11 Workshops and Master Classes ...................... 28 Code of Conduct ........................................... 11 Policy on Sexual Harassment ......................... 12 COURSE DESCRIPTIONS Academic Standing ......................................... 13 Course Numbering ......................................... 29 Academic Probation, Musicianship .................................................... 29 Suspension and Dismissal ............................ 13 Theory ............................................................. 32 Housing ........................................................... 13 Harmony .......................................................... 33 International Students ..................................... 13 Composition ................................................... 34 History ............................................................. 35 FINANCIAL AID .................................................. 14 Private Instruction ........................................... 41 Instrumental Performance Ensembles ............. 41 POLICIES Vocal Performance .......................................... 46 Student Enrollment Agreement ...................... 21 Music Technology ........................................... 46 Cancellations, Withdrawals and Refunds ......... 21 Audio Production ........................................... 47 Leaves of Absence .......................................... 21 Business of Music ........................................... 49 Attendance ..................................................... 21 Senior Project ................................................. 49 Grading and Academic Penalties ................... 22 Department of General Studies ...................... 50 Adding, Dropping and Withdrawing Curriculum Requirements Template ............... 56 from Courses ............................................... 22 Guide to Course Titles ..................................... 58 Challenge Examinations .................................. 22 Credit for Prior Experiential Learning ............. 23 FACULTY .............................................................. 61 Credit Hour Policies ........................................ 23 Transfer Credit ................................................ 23 PROGRAM, ADMINISTRATIVE STAFF, Notice Regarding Transferability of Credits .... 24 AND BOARD OF DIRECTORS ........................ 72 Student Grievances ......................................... 24 Student Right To Privacy ................................. 24 ADVISORY BOARD .............................................. 73 Injury Prevention ............................................. 24 APPLICATION FOR ADMISSION ........................ 74 DEGREE PROGRAMS The Bachelor of Music Degree in Jazz Studies DIRECTIONS TO THE CJC .................................. 76 Curriculum Requirements ............................... 25 Residency Requirements ................................. 25 B 1 A WARM WELCOME TO THE CALIFORNIA JAZZ CONSERVATORY! On behalf of the California Jazz Conservatory family of faculty, students and staff, welcome! The California Jazz Conservatory begins academic year 2019–20 with an exciting announcement: the appointment of internationally acclaimed bassist, vocalist, composer and educator Dr. Jeffrey Denson as the California Jazz Conservatory’s new Dean of Instruction. Dean Denson will officially take on his new title and role in August 2019. In addition to his duties as Dean, Dr. Denson will continue serving as Chair of the California Jazz Conservatory Bass Department, directing the Conservatory’s all-star “Blue Ensemble” and teaching an assortment of required and elective courses. I know he will make tremendous contributions to our students and the program. Welcome, Dean Denson! The California Jazz Conservatory’s vision is to admit musicians and graduate artists. As an aspiring artist yourself, you have chosen a music conservatory with a faculty of experienced artists and academicians who value and encourage your unique artistic perspective and have a proven track record of transforming our students into the artists they strive to become. The California Jazz Conservatory is gaining nationwide recognition as a hotbed for jazz education and perfor- mance, and our alumni are playing an important role in this distinction. We have also formed a new partnership with the iconic Monterey Jazz Festival, “The MJF-CJC Partnership for Excellence in Jazz Performance and Education,” providing us with unlimited opportunities to hear and interact with today’s leaders in jazz. The California Jazz Conservatory campus is located in the heart of the vibrant Downtown Berkeley Arts District. Students are within walking distance of a number of the Bay Area’s preeminent arts organizations, including the UC Berkeley Art Museum and Pacific Film Archive, Cal Performances, the Freight and Salvage, and the Berkeley Rep and Aurora Theaters. CJC students have easy access to affordable public transportation. Buses and BART are within half a block, connecting students to the Bay Area and beyond. Finally — and perhaps most importantly — you will be attending the only independent accredited music conservatory in the country that is 100% devoted to jazz and related styles of music, and 100% devoted to you! Choosing the California Jazz Conservatory will enable you to become the artist you aspire to become, in a program whose mission celebrates and promotes individual expression on all fronts. An exciting and productive semester awaits! Join us this year! Yours in jazz, Susan Muscarella, Ph.D. President CALIFORNIA
Load more

Recommended publications
  • Our Very Best Coming to Your School Or Event!
    Syracuse NY 13202 Syracuse NY St, 441 E. Washington Our Very Best Coming to Your School or Event! Blues Shout! CNY Jazz Ronnie Leigh, Management internationally known jazz vocalist and former member of The Concerts Music and Musket: The Role of Drifters, takes a musical journey through time Music in the American Civil War that highlights the great shows the importance of music and the role African-American blues Festivals of musicians in the Union Army during one of and jazz voices of the the most pivotal episodes of American his- 20th Century in song tory, the Civil War. Bandleader and noted and commentary. Tracing a timeline of nearly Residencies musical instrument collector Jeff Stockham a century, his show is a tribute to the important brings the sights and sounds of the conflict voices in jazz and blues, tracing its lineage through the stylings of artists such as Jimmy Rushing, “ Big to your classes using rare original instru- Clinics Joe” Turner, Jimmy Witherspoon, Joe Williams, Nat ments and artifacts from the 1861-1865 “King” Cole, Ray Charles, Jon Hendricks, Al Jar- period to perform examples of the bugle, reau, George Benson and others. (Grades 4-12) drum, fife, and brass band music that was so Workshops essential to the everyday life of the Civil War soldier. Grades (6-12) Rhythm Tap Jam Sessions Candle in The Jimmy Tate, Window Broadway star of Our first non-improvisatory Bring In Da’ Noise, offering, this forty-five min- Bring In Da’Funk, The Tap ute chamber Dance Kid, Jelly’s Last opera based on the folk Jam, Riverdance and tale Stone Soup will cap- Big River.
    [Show full text]
  • Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
    “Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
    [Show full text]
  • JAMU 20160316-1 – DUKE ELLINGTON 2 (Výběr Z Nahrávek)
    JAMU 20160316-1 – DUKE ELLINGTON 2 (výběr z nahrávek) C D 2 – 1 9 4 0 – 1 9 6 9 12. Take the ‘A’ Train (Billy Strayhorn) 2:55 Duke Ellington and his Orchestra: Wallace Jones-tp; Ray Nance-tp, vio; Rex Stewart-co; Joe Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Barney Bigard-cl; Johnny Hodges-cl, ss, as; Otto Hardwick-as, bsx; Harry Carney-cl, as, bs; Ben Webster-ts; Billy Strayhorn-p; Fred Guy-g; Jimmy Blanton-b; Sonny Greer-dr. Hollywood, February 15, 1941. Victor 27380/055283-1. CD Giants of Jazz 53046. 11. Pitter Panther Patter (Duke Ellington) 3:01 Duke Ellington-p; Jimmy Blanton-b. Chicago, October 1, 1940. Victor 27221/053504-2. CD Giants of Jazz 53048. 13. I Got It Bad (And That Ain’t Good) (Duke Ellington-Paul Francis Webster) 3:21 Duke Ellington and his Orchestra (same personnel); Ivie Anderson-voc. Hollywood, June 26, 1941. Victor 17531 /061319-1. CD Giants of Jazz 53046. 14. The Star Spangled Banner (Francis Scott Key) 1:16 15. Black [from Black, Brown and Beige] (Duke Ellington) 3:57 Duke Ellington and his Orchestra: Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr. Carnegie Hall, NY, January 23, 1943. LP Prestige P 34004/CD Prestige 2PCD-34004-2. Black, Brown and Beige [four selections] (Duke Ellington) 16. Work Song 4:35 17.
    [Show full text]
  • Mike Mangini
    /.%/&4(2%% 02):%3&2/- -".#0'(0%4$)3*4"%-&34&55*/(4*()54 7). 9!-!(!$25-3 VALUED ATOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 0/5)& '0$64)*)"5 "$)*&7&5)&$-"44*$ 48*/(406/% "35#-",&: 5)&.&/503 50%%46$)&3."/ 45:-&"/%"/"-:4*4 $2%!-4(%!4%23 Ê / Ê" Ê," Ê/"Ê"6 , /Ê-1 -- (3&(03:)65$)*/40/ 8)&3&+";;41"45"/%'6563&.&&5 #6*-%:06308/ .6-5*1&%"-4&561 -ODERN$RUMMERCOM 3&7*&8&% 5"."4*-7&345"33&.0108&34530,&130-6%8*("5-"4130)"3%8"3&3*.4)05-0$."55/0-"/$:.#"-4 Volume 36, Number 3 • Cover photo by Paul La Raia CONTENTS Paul La Raia Courtesy of Mapex 40 SETTING SIGHTS: CHRIS ADLER Lamb of God’s tireless sticksman embraces his natural lefty tendencies. by Ken Micallef Timothy Saccenti 54 MIKE MANGINI By creating layers of complex rhythms that complement Dream Theater’s epic arrangements, “the new guy” is ushering in a bold and exciting era for the band, its fans, and progressive rock music itself. by Mike Haid 44 GREGORY HUTCHINSON Hutch might just be the jazz drummer’s jazz drummer— historically astute and futuristically minded, with the kind 12 UPDATE of technique, soul, and sophistication that today’s most important artists treasure. • Manraze’s PAUL COOK by Ken Micallef • Jazz Vet JOEL TAYLOR • NRBQ’s CONRAD CHOUCROUN • Rebel Rocker HANK WILLIAMS III Chuck Parker 32 SHOP TALK Create a Stable Multi-Pedal Setup 36 PORTRAITS NYC Pocket Master TONY MASON 98 WHAT DO YOU KNOW ABOUT...? Faust’s WERNER “ZAPPI” DIERMAIER One of Three Incredible 70 INFLUENCES: ART BLAKEY Prizes From Yamaha Drums Enter to Win We all know those iconic black-and-white images: Blakey at the Valued $ kit, sweat beads on his forehead, a flash in the eyes, and that at Over 5,700 pg 85 mouth agape—sometimes with the tongue flat out—in pure elation.
    [Show full text]
  • Grateful Dead Records: Realia
    http://oac.cdlib.org/findaid/ark:/13030/c8k64ggf No online items Guide to the Grateful Dead Records: Realia Wyatt Young, Maureen Carey University of California, Santa Cruz 2012 1156 High Street Santa Cruz 95064 [email protected] URL: http://guides.library.ucsc.edu/speccoll Note Finding aid updated in 2018, 2020, 2021 Guide to the Grateful Dead MS.332.Ser.10 1 Records: Realia Contributing Institution: University of California, Santa Cruz Title: Grateful Dead Records: Realia Creator: Grateful Dead Productions Identifier/Call Number: MS.332.Ser.10 Physical Description: 178 Linear Feet128 boxes, 21 oversize items Date (inclusive): 1966-2012 Stored in Special Collections and Archives. Language of Material: English Access Restrictions Collection open for research. Advance notice is required for access. Use Restrictions Property rights for this collection reside with the University of California. Literary rights, including copyright, are retained by the creators and their heirs. The publication or use of any work protected by copyright beyond that allowed by fair use for research or educational purposes requires written permission from the copyright owner. Responsibility for obtaining permissions, and for any use rests exclusively with the user. Preferred Citation Grateful Dead Records: Realia. MS 332 Ser. 10. Special Collections and Archives, University Library, University of California, Santa Cruz. Acquisition Information Gift of Grateful Dead Productions, 2008. Accurals The first accrual was received in 2008. Second accrual was received in June 2012. Biography The Grateful Dead were an American rock band that formed in 1965 in Northern California. They came to fame as part of author Ken Kesey's Acid Tests, a series of multimedia happenings centered around then-legal LSD.
    [Show full text]
  • The Connection Between Jazz and Drug Abuse: a Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’S, 50’S, and 60’S
    University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2019 The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s Aaron Olson University of Denver, [email protected] Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons Recommended Citation Olson, Aaron, "The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s" (2019). Musicology and Ethnomusicology: Student Scholarship. 52. https://digitalcommons.du.edu/musicology_student/52 This work is licensed under a Creative Commons Attribution 4.0 License. This Bibliography is brought to you for free and open access by the Musicology and Ethnomusicology at Digital Commons @ DU. It has been accepted for inclusion in Musicology and Ethnomusicology: Student Scholarship by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. The Connection Between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s This bibliography is available at Digital Commons @ DU: https://digitalcommons.du.edu/musicology_student/52 The Connection between Jazz and Drug Abuse: A Comparative Look at the Effects of Widespread Narcotics Abuse on Jazz Music in the 40’s, 50’s, and 60’s. An Annotated Bibliography By: Aaron Olson November, 2019 From the 1940s to the 1960s drug abuse in the jazz community was almost at epidemic proportions.
    [Show full text]
  • By Anders Griffen Trumpeter Randy Brecker Is Well Known for Working in Montana
    INTERVIEw of so many great musicians. TNYCJR: Then you moved to New York and there was so much work it seems like a fairy tale. RB: I came to New York in the late ‘60s and caught the RANDY tail-end of the classic studio days. So I was really in the right place at the right time. Marvin Stamm, Joe Shepley and Burt Collins used me as a sub for some studio dates and I got involved in the classic studio when everybody was there at the same time, wearing suits and ties, you know? Eventually rock and R&B started to kind of encroach into the studio system so T (CONTINUED ON PAGE 42) T O BRECKER B B A N H O J by anders griffen Trumpeter Randy Brecker is well known for working in Montana. Behind the scenes, they were on all these pop various genres and with such artists as Stevie Wonder, and R&B records that came out on Cameo-Parkway, Parliament-Funkadelic, Frank Zappa, Lou Reed, Bruce like Chubby Checker. You know George Young, who Springsteen, Dire Straits, Blue Öyster Cult, Blood, Sweat I got to know really well on the New York studio scene. & Tears, Horace Silver, Art Blakey, Billy Cobham, Larry He was popular on the scene as a virtuoso saxophonist. Coryell, Jaco Pastorius and Charles Mingus. He worked a lot He actually appeared on Ed Sullivan, you can see it on with his brother, tenor saxophonist Michael Brecker, and his website. So, all these things became an early formed The Brecker Brothers band.
    [Show full text]
  • Jody David Armour ------Roy P
    CV: Jody David Armour ---------------------------------------------------------------------------------------------------- Roy P. Crocker Professor of Law University of Southern California Gould School of Law University Park Los Angeles, California 90089-0071 E-mail: [email protected] Twitter: @NiggaTheory Previous Academic Appointments University of Pittsburgh Law School - Assistant and Associate Professor of Law University of California Berkeley Law School - Lecturer Previous Employment Morrison and Foerster (San Francisco, California) - Associate Kirkpatrick and Lockhart (Pittsburgh, Pennsylvania) – Associate Courses Taught 1L Sections: Torts, Criminal Law Seminar: Stereotypes, Prejudice, and The Rule of Law Education J.D. Boalt Hall, UC Berkeley School of Law A.B. Sociology, Harvard University Awards The Los Angeles Community Action Network (LA CAN) Freedom Now Award. LA CAN works to empower and mobilize the Skid Row community June 25, 2017 USC Academic Senate Distinguished Faculty Service Award For lifetime service to the Faculty of the University of Southern California, particularly on Campus Climate, Diversity and Inclusion May 10, 2017 Soros Justice Senior Fellow of The Open Society Institute's Center on Crime, Communities and Culture PUBLICATIONS Books Negrophobia & Reasonable Racism: The Hidden Costs of Being Black in America (NewYork University Press, 1997) Chapters and Excerpts “Race Ipsa Loquitur: Of Reasonable Racists, Intelligent Bayesians, and Involuntary Negrophobes,” full article in Richard Delgado and Jean Stefancic,
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • SIDRAN, Ben (H.) 1943
    SIDRAN, Ben (H.) 1943- PERSONAL: Born August 14, 1943, in Chicago, IL; son of Louis W. and Shirley G. Sidran; married Judith Lutrin (a weaver), July 10, 1969; children: Leo. Nationality: American Education: University of Wisconsin (now University of Wisconsin—Madison), B.S. (cum laude), 1966; University of Sussex, M.A., 1968, Ph.D. (American studies), 1970. CAREER: Musician, record and television producer, singer, and composer. University of Wisconsin— Madison, lecturer, 1973-74; WMTV, host of "The Weekend Starts Now", 1973-74; WTTW-TV, artistic director of jazz programming for "Soundstage", 1975-76; National Public Radio, host and artistic director of "Jazz Alive" radio series, 1981-83, contributor to "All Things Considered" radio program, 1983-85, host and producer of "Sidran on Record", 1985-90, producer of "Jazz Profiles", 1996-99; VH-1 Television Network, host of "New Visions" television series, 1988-91. Go Jazz record label, founder, co-owner, and producer; Nardis Music, cofounder and producer, 2003. MEMBER: American Society of Composers, Authors and Publishers, National Academy of Recording Arts and Sciences, Musicians Federation. AWARDS, HONORS: Peabody Award, 1982, for "Jazz Alive" radio series; International Radio Festival winner, 1986, for "Sidran on Record"; ACE Award for Best Cable Music Series, 1989, for "New Visions"; Sundance Audience Award and New York Film Critics Award, both 1994, both for "Hoop Dreams" soundtrack; Aspen Film Festival prize, Emmy Award, and Dramatists Guild of America Award, all 1998, all for "Vietnam: Long Time Coming" soundtrack; Grammy Award nomination, 2000, for "Concert for Garcia Lorca"; Parents' Choice Award, 2003, for "El Elefante", Member of Wisconsin Arts Board; member of board of advisers on Popular Music and Society at Bowling Green State University; artist-in-residence, University of Wisconsin—Madison, 2003.
    [Show full text]
  • JAMU 20141112-2 – Duke Ellington: BLACK, BROWN and BEIGE (1943, 1958, 1965-71)
    JAMU 20141112-2 – Duke Ellington: BLACK, BROWN AND BEIGE (1943, 1958, 1965-71) Carnegie Hall, New York City, January 23, 1943: 1. Black 20:44 2. Brown 10:10 3. Beige 13:29 Rex Stewart, Harold Baker, Wallace Jones-tp; Ray Nance-tp, vio; Tricky Sam Nanton, Lawrence Brown-tb; Juan Tizol-vtb; Johnny Hodges, Ben Webster, Harry Carney, Otto Hardwicke, Chauncey Haughton-reeds; Duke Ellington-p; Fred Guy-g; Junior Raglin-b; Sonny Greer-dr; Betty Roche-voc; Billy Strayhorn-assistant arranger. LP Prestige P-34004 (1977) / CD Prestige 2PCD-34004-2 (1991) Columbia Studios, New York City, February 4, 11 & 12, 1958: 1. Part I 8:17 2. Part II 6:14 3. Part III (Light) 6:26 4. Part IV (Come Sunday) 7:58 5. Part V (Come Sunday) 3:46 6. Part VI (23rd Psalm) 3:01 (plus 10 bonus tracks on CD reissue) Cat Anderson, Harold Baker, Clark Terry-tp; Ray Nance-tp, vio; Quentin Jackson, Britt Woodman-tb; John Sanders-vtb; Jimmy Hamilton-cl; Russell Procope-cl, as; Bill Graham-as; Paul Gonsalves-ts; Harry Carney-bs; Duke Ellington-p; Jimmy Woode-b; Sam Woodyard-dr; Mahalia Jackson-voc. LP Columbia CS 8015 (1958) / CD Columbia/Legacy CK 65566 (1999) New York, March 4, 1965 & May 6, 1971; Chicago, March 31, 1965 & May 18, 1965: 1. Black 8:09 2. Comes Sunday 5:59 3. Light 6:29 4. West Indian Dance 2:15 5. Emancipation Celebration 2:36 6. The Blues 5:23 7. Cy Runs Rock Waltz 2:18 8. Beige 2:24 9.
    [Show full text]