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Poland Gdynia. Gdynia Summer Jazz Days 1993– dir.: Jaroslaw Tylicki ds: three days in July locs.: Philharmonic Hall, Gdynia Theatre, Opera Lesna, and Sopot’s Boardwalk < http://www.colosseum.gdynia.pl/history-e.html > (2001) Iłowa. Old Jazz Meeting 1994– (continuation of event formerly in Warsaw; see below Kraków. All Souls’ Day Jazz Festival 1954 – late 1980s fdr: Polskie Stowarzyszenie Jazzowe ds: four days in October–November aud.: 150–500 per concert Poznań.

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Mark Tucker, Barry Kernfeld and Gary W. Kennedy

and (3) George Schuller. The son of a violinist with the New York Philharmonic Orchestra, he studied theory, flute, and french horn privately and played horn professionally with the American Ballet Theatre ( 1943 ), the Cincinnati Symphony Orchestra ( 1943–5 ), and the Metropolitan Opera in New York ( 1945–59 ); he began his career in jazz by recording as a french horn player with Miles Davis ( 1949–50 ). In 1955 Schuller founded with John Lewis the Modern Jazz Society, which gave its first concert in Town Hall, New York, that same year and later became known as

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Charles Fox, Digby Fairweather, Barry Kernfeld and Mark Gilbert

(1967, Fon. TL 5445); * Lifeline (1973, Phi. 6308169), incl. Fighting the Flab; on Concrete Cows (1985, NYJ 1006), Lady Di * – composed by Dankworth Selected films and videos Parade of the Bands (1955) All Night Long (1961) The Servant (1963) All that Jazz (1964) Bibliography CarrJ ; ChiltonB ; FeatherE ; Feather '60s ; Feather-Gitler '70s “Johnny Dankworth,” JJ , 6/1 (1953), 14 “Ten Years of the Johnny Dankworth Orchestra,” Melody Maker (7 Dec 1963) [special suppl

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many styles of music, from opera (sung by the waiters) to jazz, until around 1954 , when Roberts gave up its ownership. The high point of each evening’s entertainment was Roberts’s own solo piano spot. Lush Life. 184 Thompson Street. It was opened on 26 December 1982 by Horst Liepolt and Mel Litoff, the managers of Sweet Basil (see below), and was active until 1985 . During its brief existence it presented performances by, among numerous others, Bob Moses, Muhal Richard Abrams, Cecil Taylor (who led a big band there), and Don Cherry (all 1982 ), Red Garland, Charlie

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of Recorded Sound until April 1984 , when it became part of the British Library; it collects recorded sound of all kinds, and jazz is only one of several special areas. Its holdings include nearly all jazz recordings ever issued in the UK, as well as imports worldwide, recordings of jazz events broadcast by the BBC and others, unissued studio recordings, and recordings of concert performances made specially for the archive. Equal emphasis is given to all areas of jazz and free improvisation. A continuing oral history project documents British jazz musicians, club owners

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Sherrie Tucker

art form in its own right, but rather as an important springboard towards the composition of black symphonies, operas, and other types of classical music (exponents of this view include M. Cuney-Hare: Negro Musicians and their Music , 1936 , and A. Locke: The Negro and his Music , 1936 ; see also J. M. Spencer: The New Negroes and their Music: the Success of the Harlem Renaissance , 1997 , as well as Ogren, 1989 , and Ramsey, 1996 ). However, not all writers of the Negro Renaissance took this approach; Langston Hughes, for example, insisted on the status of jazz

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Michael James, Howard Rye, Barry Kernfeld and André Clergeat

Waterfront (1953, Decca MF36166) As sideman C. Hawkins: Stardust (1935, HMV K7527); Honeysuckle Rose/Crazy Rhythm (1937, Swing 1); S. Grappelli: Sugar (1937, Swing 69); R. Stewart: Montmartre (1939, Swing 56); D. Ellington: on Chicago Civic Opera House Concert (1946, Prima 01-02), Blues, Honeysuckle Rose, Ride, Red, Ride Transcriptions A Treasury of Django Reinhardt Guitar Solos (New York, c 1967/ Rc 1992) S. Averoff, ed.: Django Reinhardt (New York, c 1978)

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David Fuller

its application, decorative or expressive, and easily heard, while the strong–weak distinction was universal, structural, and did not need to be heard at all, though attention to it enhanced performance. Except for scattered echoes, notes inégales disappeared from French theory and pedagogy towards the end of the 18th century; the rhythms persisted, however, in performance and composition, particularly in opera and military music, and not only in France. What changed were musical styles and attitudes to notational exactitude. But even while the practice of inequality

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Clinton, and Claude Thornhill (all 1937 ), Teddy Wilson ( 1938 ), Louis Armstrong ( 1938–9 ), and Lionel Hampton ( 1939–40 ), with whom he recorded Gin for Christmas ( 1939 , Vic. 26423). In 1940–41 he was a member of the Metronome All Stars, and following his military service he recorded with Pearl Bailey ( 1946 ), Billie Holiday ( 1947 ), Sarah Vaughan ( 1949 ), Billy Butterfield ( 1950 , 1956–8 ), Toots Thielemans ( 1954–5 ), Goodman (occasionally, 1961–7 ), and Artie Shaw ( 1963 ). In later years Mondello joined the Metropolitan Opera Orchestra for productions

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Marcus Gammel

he designed a ten- and 14-string guitar and on The Music of Stones he played on resonating stone sculptures by the artist Elmar Daucher. He likes to perform and record his music with strong acoustic or electronic reverberation. Micus has also written ballet music for the Cologne Opera ( Koan ), the Stuttgarter Staatstheater ( Darkness and Light , pts 2–3), and the Compania Nacional de Danza Madrid ( The Music of Stones , pts 2–6) and has provided compositions for various radio and television productions in Europe, Israel, Japan, the USA, and Canada. Selected

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Jeff Pressing, John Whiteoak and Roger T. Dean

Selected recordings (recorded for Cherry Pie unless otherwise indicated) Duos with D. Burrows This Time Tassie (1979, 70201-2) As sideman D. Burrows: The Don Burrows Quartet at the Sydney Opera House (1974, 1017) J. Sangster: Australia and All that Jazz, ii (1976, CPF 1027) S. Grappelli: Steph’ n’ Us (1977, 1032) Bibliography A. Bisset : Black Roots, White Flowers: a History of Jazz in Australia (Sydney, 1979, rev. 2/1987) B. Johnson : The Oxford Companion

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David Flanagan

as trombonist and arranger for Georgie Auld, Buddy Rich, and Benny Goodman (all 1949 ) and Charlie Ventura and Teddy Powell ( c 1950 ). He then joined the staff of WMGM in New York to write music for radio and television and undertook similar work for Ray Ventura in Paris, where he also recorded an album as the leader of a small group ( Jazz on the Left Bank , 1956 , Phi. B081124). Later he returned to Europe as a member of Quincy Jones’s orchestra and played for Harold Arlen’s blues opera Free and Easy ( 1959–60 ). From 1960 to 1965 Byers was Jones’s assistant

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Howard Rye

settled in New York before 1922 , and from then into the 1930s appeared in a succession of revues, both in the city and on tour. She also appeared in clubs in New York and Philadelphia. In 1930 she briefly operated a nightclub in Saratoga, New York. After appearing at the Harlem Opera House with Leroy Smith’s band in 1935 she worked in Philadelphia, but around 1938 she settled in Albany, New York, and largely retired from music. Between 1923 and 1929 McCoy made 63 issued recordings, which reveal that she was among the finest of the jazz singers who came to

Article

Ed Hazell

revised by Barry Kernfeld

in Washington with Tyner’s trio at Blues Alley and in 1991 he performed regularly at the One Step Down. White joined the World Saxophone Quartet and Carl Grubbs to form a sextet which took part in the première in 1987 of Julius Hemphill’s composition Long Tongues: a Saxophone Opera . When Hemphill left the World Saxophone Quartet in 1989 he formed his own saxophone sextet, and White became a permanent member. He thus participated in Hemphill’s later large-scale works and recorded with the group in 1993 as a quintet, when the leader was too ill to play; he

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Kevin Whitehead

1990–92 ) and John Gilmore; he manipulates split-tones and overtones with precision on all his instruments, sometimes modified through electronic devices. Van Bergen played in Cecil Taylor's Berlin orchestra in 1988 and in 1992 became a member of the reed trio Holz für Europa (with Wolfgang Fuchs and Hans Koch). His taste for gaming strategies and strong clear ideas made him a natural ally of Maarten Altena ( 1985–95 ) and Guus Janssen (from the early 1990s), as in the opera Noach , where van Bergen's elephantine howls were given prominence. When drafted into

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Barry Kernfeld

Brown, Oscar, Jr. ( b Chicago , Oct 10, 1926 ; d Chicago , May 29, 2005 ). American singer and songwriter . He wrote songs from childhood and appeared on a network radio soap opera while in high school. From 1943 to 1953 he attended five colleges and worked in a variety of jobs, having declined to follow his father, uncles, and cousins in becoming a lawyer; he entered the army in 1954 and became a professional singer and songwriter only after his discharge in 1956 . Brown collaborated with Max Roach on the album We Insist!Freedom

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Barry Kernfeld

a member of Hill’s quartet, and he continued to perform with Andrews in the late 1990s. In addition to his work in jazz, akLaff has been involved as a percussionist in dramatic productions, including most notably the New York première ( 1986 ) and the recording ( 1992 ) of Davis’s opera X: the Life and Times of Malcolm X. He has taught at the New School for Social Research, New York ( 1991–3 ), and Wesleyan University (from 1993 ). Selected recordings As leader Sonogram (1990, Mu 1004) Global Mantras (1997, Modern Master 001) As sideman O. Lake: Prophet (1980

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Jessica Bissett Perea

A-Tasket.” She was also renowned for mimicking other jazz greats (most notably Armstrong) as well as instruments (such as singing bass lines). In fact, her legendary rendition of the title track from Mack the Knife: Ella in Berlin ( 1960 )—a song from Kurt Weill’s The Threepenny Opera ( 1928 ) that was popularized by Armstrong and Bobby Darin in the mid-1950s—where she forgot the lyrics and improvised new ones, displays a spontaneity and inventiveness that charmed and endeared audiences. This album subsequently received two Grammy Awards upon its release: best album

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Lars Westin

theatre and eventually for string quartet and other chamber ensembles; his opera Balagantjyk received its première in Stockholm in 1985 , and his requiem, För levande och döda (For the living and the dead), based on poetry by Tomas Tranströmer, was performed in several Swedish cathedrals in the 1990s. He was much in demand as a teacher in colleges in Stockholm, Malmö, and elsewhere; his mission, as he put it, was “to re-establish the musical climate from the era of Bach and before, when all professional musicians were improvisers and composers as well as interpreters

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Mark Gilbert

South Africa ( 1975 ). From 1980 to 1999 he was a member of the Pizza Express All Star Jazz Band, and in 1995 he joined the Great British Jazz Band. In addition Shepherd led numerous bands of his own, typically in the style of Benny Goodman, and between 1976 and 1990 he worked extensively in film and television music production. Selected recordings As leader Shepherd's Delight (1969, 77 LEU12/35); with F. Randall: Freddy Randall/Dave Shepherd All Stars (1972, BL 12102); Benny Goodman Classics (1975, BL 12119); Tribute