Jazz From Lincoln Center Geri Allen pianist and composer Geri Allen weaves unusual jazz textures in this Written by joseph Hooper. April 15, 2004 DialogueAndrew Hill and Bobby http://www.jazzatlincolncenter.org/radio/season.asp
Jazz At Lincoln Center - Newsflash Hosted by Ed bradley, season draws from the best of 10 years of Jazz at Ray Brown, the godfather of jazz bassists, joins Jamaican pianist Monty http://www.jazzatlincolncenter.org/jalc/news/archive/011003b-news.html
Extractions: For its 2001-02 season, the Peabody-Award-winning weekly Jazz at Lincoln Center (J@LC) radio program Jazz From Lincoln Center Acclaimed for its "spectacular studio sound and informative interviews" by the George Foster Peabody Award, Jazz From Lincoln Center features recent J@LC concerts from around the world as well as classic live performances from the J@LC archives, mixed with artist interviews and historical anecdotes. Since its inception, CBS News 60 Minutes correspondent and J@LC Board Member Ed Bradley has hosted the hour-long program each season, providing succinct narrations that frame the music and educate listeners.
Chicago Reader Guide To Music: Hakan Hagegard baritone, with pianist Warren Jones (Schubert, Winterreise). Mon 8/8, 1215 PM, Preston bradley Hall, Chicago Cultural Center, http://www.chicagoreader.com/listings/static/classical.html
Extractions: Ars Viva Symphony Orchestra Members of the Chicago Symphony Orchestra William Eddins, conductor (Ives/Schuman, Copland, Rimsky-Korsakov). Sun 9/11, 4 PM, Pritzker Pavilion, Millennium Park, 100 N. Michigan. 312-742-1168. piano, and puppeteers led by Basil Twist perform a two-piano version of Stravinsky's ballet Petrushka Emerson String Quartet Rachel Naomi Kudo piano (Chopin, Balakirev). Wed 9/14, 12:15 PM, Preston Bradley Hall, Chicago Cultural Center, 78 E. Washington. 312-744-6630. Lincoln Trio in a program for children. Sun 9/11, 3 PM, Preston Bradley Hall, Chicago Cultural Center, 78 E. Washington. 312-744-6630. Members of Lyric Opera Center for American Artists perform at a book-release event for William Murray's Fortissimo . Thu 9/15, 6:30 PM, Preston Bradley Hall, Chicago Cultural Center, 78 E. Washington. 312-744-6630. Lyric Opera of Chicago Phenix (Beethoven, Danzi, Denisov, Villa-Lobos, Kodaly). Sat 9/10, 7:30 PM, Evangelical Lutheran Church of St. Luke, 1500 W. Belmont. 773-472-3383.
Goldbergs By Joseph Payne I just listened yesterday to joseph Payne s Goldbergs on BIS. He also confirmedthat the harpsichordist was really a pianist, as I d suspected. http://www.bach-cantatas.com/NonVocal/Klavier-Goldberg-Payne.htm
Extractions: Goldberg Variations BWV 988 Joseph Payne (Harpsichord) Goldbergs by Joseph Payne Goldberg Variations Goldberg Variations BWV 988 Joseph Payne (Harpsichord) BIS CD / TT: ? Kirk McElhearn wrote (June 3, 2001): I just listened yesterday to Joseph Payne's Goldbergs on BIS. I was a bit surprised at first by what I was hearing, then, as the recording went on, I began to appreciate it, and even like it. Here's the rub. Payne has decided to fully appropriate the score. While in the first playing of each variation he follows the score to the letter, the repeats feature a truly personal ornamentation, augmentation and even improvisation. At first, this stunned me - even in the repeat of the first part of the aria, he goes out on a limb. I recalled how Andras Schiff's recording rubbed me the wrong way because of his transgressions.
Johannes Brahms & Bach So he could play it for himself when joseph Joachim wasn t around to play theoriginal for Like Ravel, he had a friend who was a lefthanded pianist. http://www.bach-cantatas.com/Topics/Brahms.htm
Extractions: The problem is more in the big stuff to do with the arm motions, and the thick handfuls of notes, and the leaps, and the wide stretches within each hand, than in the fingering of scale passages. There's so much in octaves, and in chords in each hand as the targets of leaps...a minefield. (Take, for example, the "Handel" and "Paganini" variations where some of the figurations are just plain anti-ergonomic to the hands.) Go buy the Katchen set of it all, and marvel!
Harold Bradley Although Owen bradley had earned his spurs as a pianist, Harold bradley was atfirst fascinated by the banjo. Instead, taking big brother s advice, http://www.nashvillesound.net/harold_bradley.htm
Extractions: PROLIFIC is the word to describe veteran guitarist Harold Ray Bradley. In December 1990, Bradley was elected President of the 3,500 member Nashville Association of Musicians Local 257 of the American Federation of Musicians. A Life Member, Bradley has been active in the Nashville Local for many years. Harold Bradley was the first president of NARAS' Nashville chapter and continues as a member of the Grammy organization's Board of Governors. In December 1991, Harold Bradley marks his 45th year as a studio musician. He was part of the original "A Team" of Nashville superpickers, one of those John Sebastian immortalized in his song "Nashville Cats." Harold Bradley can be heard on some of Elvis Presley's records and movie soundtracks as well as those of such entertainers as Perry Como, Joan Baez, Buddy Holly, Ivory Joe Hunter, Pee Wee King, George Morgan, Hank Williams, Burl Ives, Henry Mancini, Connie Francis, George Beverly Shea, Hank Snow, Jim Reeves, Charley Pride, Leon Russell, The Everly Brothers, Gene Watson, Marty Robbins, Freddie Hart, Conway Twitty and Roy Clark. He's played on such classic cuts as Red Foley's "Chattanoogie Shoe Shine Boy," Ray Anthony's "Do the Hokey Pokey," Bobby Helms' "Jingle Bell Rock," Brenda Lee's "I'm Sorry," Roy Orbison's "Only the Lonely," Patsy Cline's "Crazy," Johnny Horton's "Battle of Now Orleans," Jimmy Dean's "Big Bad John," Roger Miller's "King of the Road," Jeannie C. Riley's "Harper Valley PTA." Tammy Wynette's "Stand By Your Man," Eddy Arnold's "Make the World Go Away," Loretta Lynn's "Coal Miner's Daughter," The Everly Brothers' "Ebony Eyes" and John Anderson's "Swinging'."
Extractions: Combining a profound sense of the past with a distinctive flair for the present, and offering exciting innovations for the future, pianist Bradley Young takes the standard definition of "virtuoso" to unique and promising new places on the musical horizon. Drawing upon a remarkably diverse series of historical and modern piano influences, Bradley has established himself as a dynamic player, composer and band leader in every genre from blues, soul, and boogie woogie to traditional and contemporary jazz, which is Bradley's first love. In fact, it is his passion for contemporary jazz that has inspired him to create Midnight Rhapsody , his newest CD release on Omnibus Records. As a pianist, the Chicago native's eclectic and soulful performing and composing style is unique in that it is reflective of nearly the entire history of jazz piano. His own musical evolution was inspired over the years by everyone from stride and boogie woogie players like James P. Johnson, Willie "The Lion" Smith and Meade "Lux" Lewis, to swing and bop giants such as Bud Powell, Oscar Peterson, and Herbie Hancock, to contemporary jazz masters like Alex Bugnon, Brian Culbertson, and Joe McBride. Bradley began classical piano lessons at age five, and by seven he was performing recitals with his own improvisational compositions. In his early teens, while studying privately at Northwestern University and the Evanston Conservatory of Music, a family friend, who was also a jazz pianist, gave Bradley his entire collection of blues and boogie woogie 78s, and Bradley became enamored with those genres. As he was performing his first professional gigs at Chicago blues hotspots with local legends like Freddie Below and Big Time Sarah, Bradley was also studying with famed Chicago blues pianist and recording artist Erwin Helfer.
Jazz | All About Jazz for the pianist, but the arc points towards greater and greater interaction . Kenny Barron Live at bradley s Simply stellar mainstream piano trio http://www.allaboutjazz.com/library/pianotrio.htm
Extractions: By Gerard Cox When one talks about "jazz piano music," it is almost taken for granted they are talking about jazz piano trio music. The trio is and has been most jazz pianists' favorite format, and with good reason: the jazz piano trio has been said at times to represent the essence of jazz in the most condensed yet effective way possible. A piano trio takes full advantage of swing, interaction, and dynamics. There have certainly been outstanding jazz piano trios throughout jazz history, each with its own signature sound: There is the majestic swing of the Oscar Peterson trio, the classy bop of Hank Jones and his trio, the great independence within the Bill Evans trio, and so on. Each great jazz piano trio has brought something slightly different into the fold. As a general rule of thumb, it would seem that since1960 piano trios have become more interactive and democratic. Formerly, in the heyday of both swing and bop, the piano assumed a very dominant role where, it would have been fair to say, it was less a trio in the ideal sense of three equal parts, than it was piano PLUS bass and drums. The Bill Evans trio was critical towards pushing the envelope for a more democratic piano trio; now we can look to fine piano trios like those of Keith Jarrett and Brad Mehldau as their continued legacy. There will always be room for more straight-ahead swinging piano trios, where bass and drums play roles more defined as timekeeping and support for the pianist, but the arc points towards greater and greater interaction.
The Children's Theatre Company - Artists Alumni JOE bradley Band Director Joe is an aspiring amateur jazz musician and has enoughtalent to do it Keith Godbout is a singer, songwriter, and pianist. http://www.childrenstheatrecompany.org/about-staffalumni.htm
Extractions: Joe is an aspiring amateur jazz musician and has enough talent to do it for a living if he felt like l iving on oatmeal for the next six years. The last project he was in was a fusion band (jazz-rock). Joe has been the devoted administrator to CTC on Saturdays keeping the program in operation in the truest process which promotes racial harmony and social responsibility through tharts...so that children can be agents of change in the world around them" Lakresha has been involved in CTC from its very first season, as a set designer, costume designer, and teaching art classes. The most rewarding part of the experience for her has not been how great the children look on stage or how proud the parents gleam in the audience, it has been the moments throughout Saturday rehearsals when a child says something so simple but brilliant about how we can all get along.
San Jose Music Study Club joseph Ordaz, Piano. 1992, Yana Haynes, Piano. Ann Unju Yi, Piano. Rosemary Johnson,Dramatic Soprano 1997, John David Thomsen, Piano, Walda bradley http://www.sjmsc.org/winners.htm
Extractions: Member of . . . Many of these local artists have progressed to successful careers. We at the San Jose Music Study Club are proud to have played a role in their career development during their formative years. YEAR WINNER INSTRUMENT/VOICE ORGANIZATION/JUDGE Rowland Snook Bass Saratoga Foothill Club Richard Corbett Piano First Methodist Church Raymond Manton Tenor Saratoga Foothill Club Roy Bogus Pianist Hawaiian Gardens Frederick Loadwick Tenor First Methodist Church Ante Soljanich Tenor First Methodist Church John White Piano Walter Taylor Marimba Doris McCune Gorete Residence Patrick Meierotto Piano Marjorie Trammel Harp Youth Village Hiro Imamura Piano Calvary Church Milton Williams Baritone Mary Ellen Mullen Violin Calvary Church Clementine Patrick Contralto Grace Baptist Church Phyllis Lehrer Piano Calvary Church Elaine Ikemoto Violin Stone Church Cheryl Melott Cello Stone Church Hilen Dilworth Soprano Stone Church Mathew Owens Cello Stone Church Lynn McConahey Piano Stone Church Gene Albin Tenor Michelle McBride Soprano Michelle Martella Soprano Calvary Methodist Church
Bradley Williams bradley Williams Creator of, director, composerarranger, pianist and MC for the21st Century Review, bradley Williams served as pianist / arranger for http://www.sidewaysent.com/daboss.html
Extractions: SIDEWAYS entertainment, inc! Bradley Williams Creator of, director, composer-arranger, pianist and MC for the 21st Century Review, Bradley Williams served as pianist / arranger for Woody Herman's Thundering Herd in the early 1980's before moving to Chicago. He was musical director at the legendary Gold Star Sardine Bar and is a favorite accompanist / arranger for many national artists as well as Chicago talent. His resume includes work with Michel Legrand, Mark Murphy, Sheila Jordan, Joe Henderson, and others. In 1995 the pianist founded his jazz variety show, the Original 21st Century Review, featuring seven musicians, three vocalists and a tap dancer. He also performs in tandem with vocalist Gingi Lahera (also of the 21st Century Review) in a number of Duo and Quartet formats. Their new CD, "Two Fun For Jazz," is due for release in Spring of 2002. His bands have appeared at The Chicago Jazz Showcase, Pops for Champagne, Toulouse on the Park, Green Dolphin Street, the Plaza Tavern, the Chicago Hilton and Towers, and the Bop Shop. Williams' 11-peice 21st Century Review has performed internationally at The Jerusalem Jazz Festival and traveled to India for performances in Mumbai (Bombay) and Dehli. They have produced three CDs - the latest a soundtrack to the movie "Wrigley Field: Beyond the Ivy." He is, in addition, the co-host of the internationally syndicated public radio series, Words and Music, broadcast over Chicago's WFMT (98.7 FM Saturday nights at 7 pm) and The Radio Networks along with the British Broadcasting Corporation, the Canadian Broadcasting Corporation, and the Australian Broadcasting Corporation.
Bradley Williams/Gingi Lahera Biographies bradley Williams pianist/Vocalist. Creator of, director, composer-arranger,pianist and MC for the 21st Century Review, bradley Williams served as pianist http://www.sidewaysent.com/gbbios.html
Extractions: Creator of, director, composer-arranger, pianist and MC for the 21st Century Review, Bradley Williams served as pianist / arranger for Woody Herman's Thundering Herd in the early 1980's before moving to Chicago. He was musical director at the legendary Gold Star Sardine Bar and is a favorite accompanist / arranger for many national artists as well as Chicago talent. His resume includes work with Michel Legrand, Mark Murphy, Sheila Jordan, Joe Henderson, and others. In 1995 the pianist founded his jazz variety show, the Original 21st Century Review, featuring seven musicians, three vocalists and a tap dancer. He also performs in tandem with vocalist Gingi Lahera (also of the 21st Century Review) in a number of Duo and Quartet formats. Their new CD, "Two Fun For Jazz," is due for release in Spring of 2002. He is, in addition, the co-host of the internationally syndicated public radio series, Words and Music, broadcast over Chicago's WFMT (98.7 FM Saturday nights at 7 pm) and The Radio Networks along with the British Broadcasting Corporation, the Canadian Broadcasting Corporation, and the Australian Broadcasting Corporation.
Public Broadcasting Atlanta Atlanta Chamber Players / Paula Peace, pianist artistic director / Laura Ardan,clarinet / Christopher Franz joseph Haydn Sonata in EFlat Major http://www.wabe.org/radio/shows/ams.html
Extractions: window.station="WABE_FM"; window.localize=true; window.station="WABE_FM"; window.localize=true; Schedule Station Profile Local Hosts Local Programs ... Search Playlists Live concerts recorded all around metro Atlanta produced by Dr. Tommy Joe Anderson of ACA Digital Recording, and hosted by WABE's Robert Hubert airs Monday nights at 9:00 p.m. over WABE 90.1 FM September 5, 2005, 9:00pm
Extractions: Summer Music Academies Offer Private Lessons, Opportunities for Performance, Practice At a glance Students can also choose supporting courses in a variety of areas. Recreational and group activities are planned. T he 2002 Summer Music Academies of the Institute for Young Musicians will be held in Lawrence, Kansas, at the University of Kansas from July 1-19, 2002. The next session will take place from August 5-23 at the University of California at Santa Barbara, in Santa Barbara, Calififornia
Extractions: He died at the age of 85 in Chatsworth, California on 27th April 1977 In 1934, MGM decided that they had to get into the growing cartoon business but they weren't brave enough to create their own unit. Instead, they bought in cartoons from the Hugh Harman/Rudolf Ising company (the name of the company, Harman-Ising, was a deliberate pun). Scott Bradley worked for Harman-Ising, having previously been at Disney, alongside Carl Stalling who later went to Warner Brothers and worked on 600 of the famous Looney Tunes and Merrie Melodies. So, when MGM decided to create their own in-house cartoon unit in 1938, it was natural that they bought in most of the people from the Harman-Ising stable and Bradley became a full time MGM employee. Cartoon music was, in the mid 1930s, still pretty much a collection of popular songs linked together with the occasional musical effect supporting the action. It wasn't until the late '30s that the music started to tell the story more than the sound effects did. Roy Prendergast in his book Film Music, a neglected art
Solo Piano Publications Composer / pianist Michael Allen Harrison 2002/MAH Records bradley Joseph1999/Robbins Island Music, The Most Requested Collection, Vol. 1 Steve Siu http://www.solopianopublications.com/reviews/reviews.htm
Sunnyside Records He defines himself as a Detroit pianist incorporating a Bud Powell awareness, Nights of bradley s by Kirk Lightsey cover Nights of bradley s. http://www.sunnysiderecords.com/artist.php?id=166