Matching Items (18)
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- All Subjects: Jazz
- Creators: DiBartolo, Joel
Description
Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.
ContributorsSherman, John Michael (Author) / Kocour, Michael (Thesis director) / Libman, Jeffrey (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
ContributorsMarohnic, Chuck (Performer) / Sjoerdinga, Brian (Performer) / DiBartolo, Joel (Performer) / Faculty Jazz Ensemble (Performer) / ASU Library. Music Library (Publisher)
Created1994-04-11
ContributorsDiBartolo, Joel (Contributor) / Concert Jazz Band (Performer) / ASU Library. Music Library (Publisher)
Created1995-04-10
ContributorsDiBartolo, Joel (Performer) / Cool Combo (Performer) / ASU Library. Music Library (Publisher)
Created1995-04-12
Description
Using two interviews with local Phoenix professional chamber musicians, this document aims to compare their experiences across musical styles to find common ground and understand the value of chamber music as a professional and educational tool.
ContributorsGrahmann, Robert (Author) / Libman, Jeffrey (Thesis director) / Compitello, Michael (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
ContributorsMcAllister, Steven F. (Performer) / Ortman, Mory (Performer) / DiBartolo, Joel (Performer) / Lali, Dominic (Performer) / Rosaly, Franky (Performer) / ASU Library. Music Library (Publisher)
Created1999-10-24
Description
This paper highlights a method for jazz transcription, comprehension, and practice to be implemented primarily in applied saxophone instruction with undergraduate students. The purpose is the identify and mend the divide between jazz and classical that appears in academia. This divide is one that came about by necessity in the saxophone’s relative youth in the academic world as it found solid footing in conservatories around the world. A literature review establishes the current state of dialogue between both jazz and classical in the academic saxophone community, including the current state of crossover scholarship that discusses the interaction between multiple genres. This review investigates what serves as pedagogical material in an aural discipline like jazz. A thorough approach to transcription is crucial change to the standard practice of jazz transcription typically employed in applied saxophone studios. This approach takes the focus away from the product and places it on the process. This process is demonstrated through a transcription and deconstruction of Charlie Parker’s “Cheryl.” Though this approach is presented through the perspective of a saxophonist, this process can be applied to any number of instrumental disciplines seeking to understand jazz transcription and improvisation more fully.
ContributorsFeher, Patrick Francis (Author) / Creviston, Christopher (Thesis advisor) / Kocour, Michael (Committee member) / Libman, Jeffrey (Committee member) / Caslor, Jason (Committee member) / Wells, Christi Jay (Committee member) / Arizona State University (Publisher)
Created2022
ContributorsReid, Rufus (Performer) / Kassinger, Robert (Performer) / DiBartolo, Joel (Performer) / ASU Library. Music Library (Publisher)
Created2008-03-08
ContributorsCarney, Gary (Performer) / DiBartolo, Joel (Performer) / Concert Jazz Band (Performer) / ASU Library. Music Library (Publisher)
Created1995-03-07
ContributorsMoio, Dom (Director) / Libman, Jeffrey (Director) / Latin Jazz Band (Performer) / Jazz Repertory Band (Performer) / ASU Library. Music Library (Publisher)
Created2014-12-03