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The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
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. -
John Anthony Final Revisions Thesis
Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let’s Cool One” by John J. Anthony Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in Jazz Studies YOUNGSTOWN STATE UNIVERSITY August, 2012 Improvisational Devices of Jazz Guitarist Adam Rogers on the Thelonious Monk Composition “Let’s Cool One” John J. Anthony I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: John J. Anthony, Student Date Approvals: Dr. David Morgan, Thesis Advisor Date Dr. Kent Engelhardt, Committee Member Date Dr. Randall Goldberg, Committee Member Date Dr. Glenn Schaft, Committee Member Date Peter J. Kasvinsky, Dean of School of Graduate Studies and Research Date ABSTRACT Adam Rogers is one of the most influential jazz guitarists in the world today. This thesis offers a transcription and analysis of his improvisation on the Thelonious Monk composition “Let’s Cool One” which demonstrates five improvisational devices that define Rogers’s approach over this composition: micro-harmonization, rhythmic displacement, motivic development, thematic improvisation, and phrase rhythm. This thesis presents a window into the aesthetics of contemporary jazz improvisation and offers a prism for conceptualizing not only the work of Adam Rogers, but -
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. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
Three Conquests of Canaan
ÅA Wars in the Middle East are almost an every day part of Eero Junkkaala:of Three Canaan Conquests our lives, and undeniably the history of war in this area is very long indeed. This study examines three such wars, all of which were directed against the Land of Canaan. Two campaigns were conducted by Egyptian Pharaohs and one by the Israelites. The question considered being Eero Junkkaala whether or not these wars really took place. This study gives one methodological viewpoint to answer this ques- tion. The author studies the archaeology of all the geo- Three Conquests of Canaan graphical sites mentioned in the lists of Thutmosis III and A Comparative Study of Two Egyptian Military Campaigns and Shishak and compares them with the cities mentioned in Joshua 10-12 in the Light of Recent Archaeological Evidence the Conquest stories in the Book of Joshua. Altogether 116 sites were studied, and the com- parison between the texts and the archaeological results offered a possibility of establishing whether the cities mentioned, in the sources in question, were inhabited, and, furthermore, might have been destroyed during the time of the Pharaohs and the biblical settlement pe- riod. Despite the nature of the two written sources being so very different it was possible to make a comparative study. This study gives a fresh view on the fierce discus- sion concerning the emergence of the Israelites. It also challenges both Egyptological and biblical studies to use the written texts and the archaeological material togeth- er so that they are not so separated from each other, as is often the case. -
Tune Suggestions by Jerry Coker
Tune suggestions by Jerry Coker. Vol: 1 How to Play Jazz Track 6 – 4 measure cadences, Track 9 – Cycle of Dominant. Vol: 2 Nothing but Blues Track 4 – Slow Blues, Track 5 - Fast Blues, Snap, Crackle & pop Vol: 3 II V7 I Track 3 – ii V7 I Major, Track 2 – Random ii V7 I, Track 4 – ii V7 I minor. Vol: 4 Movin’ On Magic Morning Vol: 6 Charlie Parker Now’s the Time, Billie's Bounce, Confirmation, Ornithology, Scrapple for the Apple, Yardbird Suite. Vol: 7 Miles Davis Four, Old Milestones, Solar, Dig Vol: 8 Sonny Rollins Airegin, Doxy, Oleo Vol: 10 David Baker Le Miroir Noir Vol: 12 Duke Ellington Perdido Vol: 14 Benny Golson Killer Joe Vol: 16 Turnarounds Track 7 – Coltrane changes, Track 9 – Rhythm Changes, Track 11 – Some of the Things I Am, Track 12 – Guess What Key I'm In Vol: 17/18 Horace Silver Song for My Father, Strolling, Barbara, Ecorah, Nica’s Dream, Room 608, Silver Serenade, Sister Sadie Vol: 19 David Liebman Lookout Farm, Piccadilly Lilly VolL 21 Minor/Minor Majors: Track 1 & 2, Track 14 dominants b9, Dominant 7th up and down chromatic Track 3 Vol: 27/28 John Coltrane Giant Steps, Countdown, Impressions, 26-2, A Love Supreme Vol: 33 Wayne Shorter all of it Vol: 34 Jam Session Just Friends, Spring Is Here, Star Eyes, On Green Dolphin Street Vol: 35 Cedar Walton Cedars Blues, Bolivia, Clockwise, Hand in Glove, Firm Roots, Ojos de Rojo. Vol: 36 Bebop and Beyond Freight Trane, Ray's Idea Vol: 41 Body and Soul Body and Soul, Alone Together, What Is This Thing Called Love Vol: 48 In A Mellow Tone In A Mellow Tone, I Got I t Bad, Warm Valley, I Didn't Know About You, Do Nothing Till You Here From Me. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
2012 Festival Brochure
BOARD OF DIRECTORS Jessica Felix ARTISTIC DIRECTOR Gloria Hersch CHAIR Elizabeth Candelario VICE CHAIR Edward Flesch SECRETARY Dennis Abbe TREASURER Rollie Atkinson Randy Coleman Roy Gattinella Loretta Rosas HONORARY BOARD MEMBERS Frank Carrubba Doug Lipton Circe Sher GENERAL COUNSEL James DeMartini PROGRAM NOTES David Rubien NEA Jazz Masters is a program of the DESIGN National Endowment of the Arts in Ranch7 Creative partnership with Arts Midwest. PRINTING Healdsburg Area Fund Barlow Printing Healdsburg Rotary Club Healdsburg Sunrise Rotary Club Kiwanis Club of Healdsburg Tompkins/Imhoff Family Fund Steinway Pianos provided by Sherman Clay, San Francisco FRIDAY 6/1 TUESDAY 6/5 SATURDAY 6/9 Calvin Keys Organ Quartet Azesu: Latin Rhythms, South Master Vocal Class KRUG EVENT CENTER American Folklorico & Jazz with Sheila Jordan 198 Dry Creek Road HEALDSBURG PLAZA HEALDSBURG HIGH SCHOOL (entrance on Grove Street) 6-8PM | Free 1028 Prince Avenue/Band Room 7-9PM | $20 11AM-2PM Vintage Blues on Vinyl Robb Fisher & Matt Clark Duo $50 participants | $25 to audit with David Katznelson HOTEL HEALDSBURG LOBBY Panel Discussion 7:30-11PM BERGAMOT ALLEY with the Roy-al Family 328a Healdsburg Avenue Moderated by Billy Hart 8-11PM | $10 SATURDAY 6/2 RAVEN THEATER Jazz & Wine Tasting: 115 North Street Benny Barth Trio with Randy WEDNESDAY 6/6 2-4PM | Free Jazz Night at the Movies Vincent & Chris Amberger with Mark Cantor Music, Wine & Food SEASONS OF THE VINEYARD RAVEN THEATER Cocktail Hour: Susan Sutton Trio 113 Plaza Street ACROSS FROM RAVEN THEATER -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Anticommercialism in the Music and Teachings of Lennie Tristano
ANTICOMMERCIALISM IN THE MUSIC AND TEACHINGS OF LENNIE TRISTANO James Aldridge Department of Music Research, Musicology McGill University, Montreal July 2016 A thesis submitted to McGill University in partial fulfillment of the requirement of the degree of MASTER OF ARTS © James Aldridge 2016 i CONTENTS ABSTRACT . ii RÉSUMÉ . iii ACKNOWLEDGEMENTS . v PREFACE . vi INTRODUCTION . 1 LITERATURE REVIEW . 8 CHAPTER 1 Redefining Jam Session Etiquette: A Critical Look at Tristano’s 317 East 32nd Street Loft Sessions . 19 CHAPTER 2 The “Cool” and Critical Voice of Lennie Tristano . 44 CHAPTER 3 Anticommercialism in the Pedagogy of Lennie Tristano . 66 CONCLUSION . 86 BIBLIOGRAPHY . 91 ii Abstract This thesis examines the anticommercial ideology of Leonard Joseph (Lennie) Tristano (1919 – 1978) in an attempt to shed light on underexplored and misunderstood aspects of his musical career. Today, Tristano is known primarily for his contribution to jazz and jazz piano in the late 1940s and early 1950s. He is also recognized for his pedagogical success as one of jazz’s first formal teachers. Beyond that, however, Tristano remains a peripheral figure in much of jazz’s history. In this thesis, I argue that Tristano’s contributions are often overlooked because he approached jazz creation in a way that ignored unspoken commercially-oriented social expectations within the community. I also identify anticommercialism as the underlying theme that influenced the majority of his decisions ultimately contributing to his canonic marginalization. Each chapter looks at a prominent aspect of his career in an attempt to understand how anticommercialism affected his musical output. I begin by looking at Tristano’s early 1950s loft sessions and show how changes he made to standard jam session protocol during that time reflect the pursuit of artistic purity—an objective that forms the basis of his ideology. -
PROGRAM NOTES Guided Tour
13/14 Season SEP-DEC Ted Kurland Associates Kurland Ted The New Gary Burton Quartet 70th Birthday Concert with Gary Burton Vibraphone Julian Lage Guitar Scott Colley Bass Antonio Sanchez Percussion PROGRAM There will be no intermission. Set list will be announced from stage. Sunday, October 6 at 7 PM Zellerbach Theatre The Annenberg Center's Jazz Series is funded in part by the Brownstein Jazz Fund and the Philadelphia Fund For Jazz Legacy & Innovation of The Philadelphia Foundation and Philadelphia Jazz Project: a project of the Painted Bride Art Center. Media support for the 13/14 Jazz Series provided by WRTI and City Paper. 10 | ABOUT THE ARTISTS Gary Burton (Vibraphone) Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone. At the age of 17, Burton made his recording debut in Nashville with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music to join George Shearing and Stan Getz, with whom he worked from 1964 to 1966. As a member of Getz's quartet, Burton won Down Beat Magazine's “Talent Deserving of Wider Recognition” award in 1965. By the time he left Getz to form his own quartet in 1967, Burton had recorded three solo albums. Borrowing rhythms and sonorities from rock music, while maintaining jazz's emphasis on improvisation and harmonic complexity, Burton's first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established Burton and his band as progenitors of the jazz fusion phenomenon.