![]() ![]() Jimmy Maxwell, Jimmy Nottingham, Idrees Sulieman, trumpet Jimmy Cleveland, Urbie Green, Rex Peer, trombone Bart Walsaliona, bass trombone Tony Scott, clarinet, conductor Gigi Gryce, Sam Marowitz, alto sax Seldon Powell, Zoot Sims, tenor sax Danny Bank, baritone sax Bill Evans, piano Mundell Lowe, guitar Milt Hinton, bass Osie Johnson, drums. The Touch Of Tony Scott RCA Victor LPM-1353 1956 ** originally released on The Jazz Workshop, RCA Victor LPM-1372 in 1957 + 2 bonus tracks. NYC, OctoG2JB9793-? Ballad Of Hix Blewitt (alternate take) NYC, OctoG2JB7838-? Concerto For Billy The Kid (alternate take)Īrt Farmer, trumpet Hal McKusick, flute, alto sax Bill Evans, piano Barry Galbraith, guitar Teddy Kotick, bass Osie Johnson, drums. The George Russell Smalltet - Jazz Workshop RCA Bluebird 6467-2-RB 1987 ** also released on The George Russell Smalltet - Jazz Workshop, RCA Bluebird 6467-2-RB in 1987. Jerry Wald - Frenchman's Creek / Mesa Verde Kapp K-212X 1955ġ956 George Russell - The Jazz Workshop RCA Victor LPM-1372 1957Īrt Farmer, trumpet Hal McKusick, flute, alto sax Bill Evans, piano Barry Galbraith, guitar Milt Hinton, bass Joe Harris, drums.Īrt Farmer, trumpet Hal McKusick, flute, alto sax Bill Evans, piano Barry Galbraith, guitar Milt Hinton, bass Paul Motian, drums.Īrt Farmer, trumpet Hal McKusick, flute, alto sax Bill Evans, piano Barry Galbraith, guitar Teddy Kotick, bass George Russell, chromatic drums #1 Osie Johnson, woodblock #1, drums #2-4. NYC, 1955 GO-9W-1372 Valley Of The Redwoods Jerry Wald, clarinet, conductor probably Eddie Costa, vibes Bill Evans, piano unknown, guitar unknown, bass Paul Motian, drums and strings.: same session. Jerry Wald - Valley Of The Redwoods / Dancing Castinets Kapp K-173X 1956 Jerry Wald, clarinet, conductor probably Eddie Costa, vibes Bill Evans, piano unknown, guitar unknown, bass Paul Motian, drums and strings. ![]() Jerry Wald And His Orchestra - Listen To The Music Of Jerry Wald Kapp KL-1043 1956 ** originally released on Fantasy LP 3-212 in 1956 + 4 bonus tracks. Lucy Reed - The Singing Reed Original Jazz Classics OJCCD-1777-2 1991īill Evans, piano Howard Collins, guitar Bob Carter, bass Sol Gubin, drums Lucy Reed, vocal.: same session. ** also released on Original Jazz Classics OJCCD-1777-2 in 1991. There's A Boat Dat's Leavin' Soon For New York Jerry Wald, clarinet, conductor Bill Evans, piano unidentified orchestra, Al Cohn, arranger.ġ955 Lucy Reed - The Singing Reed Fantasy LP 3-212 1956īill Evans, piano Howard Collins, guitar Bob Carter, bass Sol Gubin, drums Lucy Reed, vocal. Also presented at Music Theory Midwest’s 26th annual conference, Oakland University, MI (2015), honorable mention for the Arthur J.1954 (age 25) Jerry Wald And His Orchestra - Designed For Dancing Lion E-70014 1954 I take this in-depth look at the Fancy Free variations to illustrate how choreo-musical analysis can enrich our understanding of the synergy of music and movement. The third movement is the most metrically straightforward and the choreography matches effortlessly with the main motives, providing a slick characterization for the group’s suave leader. I illustrate how the choreography can confirm or contradict the waltz topic, portraying the sailor’s unassuming playfulness. I focus on the second variation, which while titled “Waltz” is not in a pure triple meter. ![]() The energetic first variation features the acrobatic, gregarious sailor, and the tension between choreographic and musical phrases depicts a man of vigor. Building on recent discussions by music theorists and dance scholars, my analysis aligns the dance steps alongside musical analysis to see how they inform each other, paying close attention to choreographic and musical accents. The placement and repetition of rhythmic and choreographic phrases distinguish the personalities of each sailor. I argue that the complementary metric and rhythmic choices create unique characterizations for each of the three sailors’ solo variations in the sixth movement. This paper presents a choreomusical analysis of the ballet exploring the intertwining relationships between music and dance. The ballet Fancy Free premiered at the Metropolitan Opera House in 1944, marking the beginning of the creative collaboration between composer Leonard Bernstein and choreographer Jerome Robbins. ![]()
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