Jazz On The Clock Download

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When you think of cities that are connected to the legacy of jazz, you probably don't think of Denton, Texas. On this episode of Sense of Place: Denton, Texas, we're heading to the University of North Texas, home to the world-renowned One O'Clock Lab Band, the student jazz ensemble that's been nominated for seven Grammys. We're attending a rehearsal and talking with the band's director, Alan Baylock, to find out how Denton became an unlikely jazz mecca. Plus, we'll learn from some of the students what it takes to make the cut.

The One O'Clock Lab Band is the premier performing ensemble of the jazz studies program. With seven Grammy Award nominations (one or more per decade since the 1970s) from a library of over eighty critically acclaimed recordings to date, the One O'Clock is noted for its expcetional individual musicamship and tight ensemble performance.

As rich as the heritage of Clark College itself, the Clark College Jazz Festival has been host to one of the largest jazz festivals in Southwest Washington for over 50 years! Held the last weekend in January in Gaiser Hall on the beautiful Clark College campus, the festival attracts over 60 middle and high school instrumental jazz ensembles for the three day competitive festival. During the day, groups perform to an esteemed panel of adjudicators made up of renowned jazz educators and performers for the privilege of returning to perform in the evening finals competition where they will be ranked for 1st, 2nd, and 3rd place. On the final evening of the festival, one band from the entire festival is selected to receive the coveted Sweepstakes Trophy, a tradition which has been passed down since 1963.

"John Fedchock is absolutely one of the best jazz trombone players in the world," said Kush, who performed alongside Fedchock multiple times in the last decade, including gigs with the Woody Herman Jazz Orchestra and the South Florida Jazz Orchestra. "He has a tremendous reputation through all his recordings and he's well-known in the education world because he not only plays well but he's a very good teacher and composer."

Fedchock, a New York City-based trombonist and composter, is a Grammy Award-nominated arranger whose illustrious career in jazz spans three decades. Fedchock wrote a piece for the SRU Jazz Festival called "Party Crasher," representing his big band, swing style.

"We commissioned him to write a piece for us that's never been played by anyone and it's written for the SRU Jazz Ensemble," said Kush, who directs the jazz ensemble. "Not only are we getting to play with him, but to commemorate this event we have this music which we will be calling up and playing for years to come."

The One O'Clock Lab Band will perform in the second half of the feature performance. A seven-time Grammy-nominated group, the One O'Clock Lab Band was established at UNT in 1946 and is one of the longest-running, most-successful college jazz bands in the world.

"Their history of having a collegiate jazz ensemble is so strong that if you ask any jazz musician to name the top college jazz band in the world they would say the One O'Clock Lab Band," said Kush, who is a friend of the group's director, Alan Baylock.

The two jazz bands use standard instrumentation: alto, tenor, baritone saxophone, trumpet, trombone, piano, bass (usually upright), guitar, and drums. A set number of players are accepted each year. A meeting for all interested musicians is held the first week of classes each fall, and audition groups and times are set for the second and third weeks. The top UNH Jazz Band rehearses 3:10-4:00 on Mondays, Wednesdays, and Fridays. The second band rehearses right after them: 4:10-5:00. Spots are filled as needed second semester, but typically membership is for the full year.

At UNH Jorgensen regularly hosts residencies by some of the top performers, composers and historians in jazz today. As director he started an annual commissioning project dedicated to his predecessor, Dave Seiler. His bands have premiered new works from composers such as John Clayton, Dan Gailey, John LaBarbera, and Paul Kreuger. The UNH 3 O'Clock Jazz Band released their first CD under Jorgensen's direction in April of 2016 titled A Time Of Celebration, and the album featured two of the compositions from the Seiler Commissioning Project. Recently the UNH 3 O'Clock Jazz Band was invited to perform at the Montreux Jazz Festival in Montreux, Switzerland, and the Umbria Jazz Festival in Perugia, Italy. Prior to his appointment at UNH, Jorgensen served as Assistant Professor of Woodwinds and Jazz at South Dakota State University.

Welcome to episode 89 of the LJS Podcast where today we have special guest drummer and composer Dorota Piotrowska on the show to talk about time feel and rhythm. These are some of the most important aspects to focus on to improve your jazz playing, and Dorota has some killer tips to share. Listen in!

The UND Rock & Rhythm Review is a select ensemble that performs for the UND men's and women's basketball games and concerts at UND and throughout the region. It is an extended jazz band set-up with a full rhythm section.

Covering rock hits from today, horn band hits from the 60's, 70's & 80's to hard swinging jazz classics, the UND Rock n' Rhythm Review has over 200 charts in rotation at any given time. In 2005, this band was voted "Best Basketball Band in the Nation for Division II Athletics". Audiences and crowds are always pleased by our high level of preparation and performance.

Reviewed by:  Jazz and Twelve O'Clock Tales  Landon Moore (bio)   Coleman, Wanda. Jazz and Twelve O'Clock Tales. Boston: David R. Godine, 2008. Wanda Coleman's "Jazz at Twelve" begins in a Malibu club as a woman anxiously awaits a jazz performance. She admires the musician's signature sound and his growing popularity on the radio station. "In these days of pop-disco-rock it's tough for jazznicks to draw," she remarks. "They don't teach music appreciation in grade school anymore. A whole generation has grown up without proper ears" (12). If what she says is true, readers may learn a great deal from Jazz and Twelve O'Clock Tales, Coleman's latest collection of short stories. As one might expect from a poet's prose, Coleman's writing is lyrical, inspired by the blues and jazz rhythm that has contributed to her reputation as the "L.A. Blueswoman." Suitably named for a line in Billy Strayhorn's song "Lush Life," this is Coleman's first collection of new short stories in almost fifteen years. She explores poverty, racism, sexism, and, ultimately, the power of human resilience in thirteen intricate portraits of "sad and sullen gray faces with distant gay traces" (Strayhorn).

The collection opens with "Joy Ride" as Coleman tunes the car radio to a local jazz station and we are introduced to two young married couples. On their way home from a picnic, the impending responsibilities of daily life at home and at work dim the couples' moods as they travel "through palm-laced residential zones and along wide-laned boulevards, southeast, toward that poorer, darker section of the City of Angels to which they are intangibly restricted" (1). As the sedan bounces down the potholed road, conversation ebbs, and inversely, the music emanating from the radio surges to "become bluesy and discordant, occasionally shrill and punctuated by staccato runs. The harpist, the pianist and the string section defer to brass and woodwinds. The percussionists begin their ascension" (2). The rising drums, like the escalating soundtrack of a suspense film, create a palpable tension that vibrates with expectation. When the song changes to a "jassy jazz" so too does the mood in the car, for in the road is a moving gunny sack, and while the slide trombone sounds, "the newlyweds syncopate as they speculate" about what the bag could hold (3). The music builds to a crescendo when the sound of the impact is almost smothered by the trumpet's shriek. Only when the couples exit the steaming vehicle does the music stop as "a deacon of the old school leans into the car's interior and cuts the sound" (3). By this time, ______________ a crowd has gathered around the accident to see "a tiny chocolate arm perfectly formed" fall loosely from the folds of the sack, and "the faces of the watchers are all shades of a shared darkness" (3). Coleman's poetic economy of language infiltrates her prose so that this "shared darkness" becomes multivalent, significant not only for its suggestion of race but also as a descriptor of the crowd's collective mood after witnessing this scene unfold in their neighborhood, that "darker section of the City of Angels" from which, because of their skin color and grim financial status, there is no escape.

Coleman's writing dances to the rhythm that is repetition in the aforementioned "Jazz at Twelve," narrated by Babe, who first defines herself as Kevin's wife, and then, much later in the story, as a moonlight songwriter "living for the day when women's music will receive as much attention as men's" (18). The story begins and ends in one location, a Malibu jazz club, but Coleman's recurring sections of ironic prose travel beyond the traditional limitations of setting and chronological storytelling. While Babe is acutely aware of her immediate physical surroundings, she doesn't know that she's pregnant, or that her husband is addicted to heroin, or that in a couple of months her coin collection and a sealed envelope filled with cash will disappear, and after a while, so will her husband. Here, the negative space outside the...

Law Murray of The Athletic pointed out something interesting about the final sequence. He noted that the Fox layup appeared to have gone through the net with roughly 0.6 seconds remaining. However, the clock operators at Vivint Arena allowed an additional two-tenths of a second to elapse before stopping the timer. That seemingly trivial sliver of time ended up being monumental as Markkanen lost out on his game-winner by only one-tenth of a second or so from the looks of it. 5376163bf9

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