Morton was active there between 19 and spent his honeymoon there with the former Mabel Bertrand, who claimed “everybody knew him there in Kansas City”.Ī review doesn’t allow for emphasis on what is fresh in each chapter of the book but some novel chapter headings are informative. More importantly it notes for the first time the significance of Jelly Roll Morton in the early development of K.C. The next chapter makes a worthy attempt to narrow down the meaning of “stomp” and corrects the record on the relationship of Bus Moten to Bennie. This chapter also introduces Wilbur Sweatman, a precursor of Roland Kirk, who was able to play three clarinets at once and recorded Down Home Rag before the ODJB’s first studio date but was ignored by Driggs and Hendrix. Entitled Roots: Ragtime, Minstrelsy And Tent Shows, this goes back to the 19th century to trace the origin of the links between black musicians and circuses, carnivals and brass bands. But there is also plenty here that is new. Of course, much of the same ground had to be covered, as it is – in a more free-flowing style.
Inevitably not all the information was of equal importance – for example lengthy details of the nature of venues a band played at are less interesting than the kind of music that was played there.Īuthor Con Chapman (who previously wrote the first book to concentrate on Johnny Hodges) was aware of the Driggs and Haddix volume and the need for something rather different. These two men had collected a massive amount of information and apparently wanted to include it all in their book. Before this new book appeared the most comprehensive survey was a co-operative venture by Frank Driggs and Chuck Haddix entitled Kansas City Jazz From Ragtime To Bebop – A History. Davis.The subject of jazz in Kansas City has attracted a number of writers. The Conservatory Wind Symphony is under the direction of Steven D. In addition, the ensemble regularly collaborates with select student composers found within the Conservatory’s 80 composition majors. Numerous compositions have been written for this esteemed ensemble by some of the world’s leading composers. The Conservatory Wind Symphony has a rich history of creative programming and collaboration – a hallmark of its existence. This wide range of experiences affords the members of the ensemble an opportunity to receive a comprehensive musical education through a demanding and rigorous process of both rehearsals and performances. Through the rehearsal and performance of this diverse repertoire, students are exposed to a wide variety of compositional techniques, rehearsal processes and expressive possibilities that challenge students to develop their individual musicianship. The Conservatory Wind Symphony is comprised of the very finest wind and percussion students at the Conservatory and is guided by a philosophy that seeks to expose its students and its audiences to the highest quality of music written for wind instruments. Mailing Address: UMKC Jazz Camp UMKC Conservatory 5227 Holmes St. The UMKC Jazz Camp concludes with a public performance by the student combos. Jazz Camp participants improve technical and improvisational skills and aural acuity while studying the standards of the past and new, innovative literature. Daily master classes with Jazz Camp faculty, theory and improvisation classes and frequent faculty performances provide a well-rounded experience that touches on all aspects of jazz performance and history. Participants form lasting friendships as they delve deep into jazz in intensive combo rehearsals and coaching sessions. Jazz Camp co-directors Bobby Watson and Mitch Butler and distinguished clinicians provide insight and inspiration to student combos in a welcoming environment. Steeped in the rich jazz history of Kansas City, the UMKC Jazz Camp brings world-renowned performers and jazz educators to Kansas City to work with talented young instrumentalists ages 12 and up.
0 kommentar(er)
