| | University Of Northern Iowa Jaz Transformation CD University Of Northern Iowa Jaz Discography of CDs
Liner Note Authors: Chris Merz; Ray Anderson.
Director: Chris Merz.
Arrangers: Chris Merz; Francy Boland.
Personnel: Bob Dunn (banjo); Dave Oline (flute, alto saxophone, baritone saxophone); Kyle Novak (clarinet, baritone saxophone); Nathaniel Gao (soprano saxophone, alto saxophone); Jeff Church, Jeff Guntren (tenor saxophone); Chris Arnold, Caleb Shreves, Christian Anderson, Chris Nitzschke, Brandon O. Lewis (trumpet, flugelhorn); Bill Sheidecker, Paul Hovey, Nathan Dishman (trombone); Jon Kvam (piano); Phil Martin (drums, claves, guiro); Ryan DeCook (congas).
Audio Mixers: Sandy Nordahl; Chris Merz; Tom Tatman.
University Of Northern Iowa Jaz Transformation Songs | 1. | Transformation |
| 2. | Cubauza |
| 3. | Scratchin' the Gravel |
| 4. | Deluge |
| 5. | Extra Credit |
| 6. | Front Burner |
| 7. | Get Happy |
| 8. | Lullaby of the Leaves |
| 9. | Tapajack |
| 10. | East St. Louis Toodle-Oo |
| 11. | Boom Boom |
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Transformation Review
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| | Mosaic Select: Tony Williams CDs (2007)
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For the 24th Mosaic Select box set of reissues from the Blue Note vaults, series producer Michael Cuscuna has chosen five recordings in a seven-year span from 1985-1991 by drummer/bandleader Tony Williams. Note that this is not the complete Tony Williams on Blue Note, excluding his sessions after having left the Miles Davis Quintet, especially Life Time, Spring, and his sideman work with Jackie McLean, Eric Dolphy, and Sam Rivers. The complete latter-period group recordings included are Foreign Intrigue, Civilization, Angel Street, Native Heart, and The Story of Neptune. All are solidly in the modern mainstream post-bop mode, featuring the forceful, driving drumming of Williams, and all the sets feature the brilliant pianist Mulgrew Miller with Miles devotee trumpeter Wallace Roney. Tenor and soprano saxophonist Bill Pierce is paired on the sides except Foreign Intrigue. Ron Carter, Charnett Moffett, and Ira Coleman are the bassists, with Robert Hurst making a cameo on three tracks. These are individualistic, solid players, giving Williams the opportunity to not only jam with the best, but write music geared toward their personalized sounds and stances. Four of the five sessions were done in New York City; only Civilization was done elsewhere, in Los Angeles. Of the 38 selections, four are unaccompanied drum solos, and three are covers or standards. There are a few waltzes and no ballads as one might expect, though Miller's piano rhapsodically introduces two tracks. The remainder are original compositions of Williams. Give the drummer some credit, as a total musician and composer. The recordings are programmed in chronological order, starting with Foreign Intrigue, which likely is overall the best of the lot. Williams introduces ...
| | Bare Fingers - The Solo Autoharp Artistry Of Adam Miller CD (2008)
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Bare FingersThe Solo Autoharp Artistry of Adam MillerFolksinging.org FS 1004The autoharp (or chorded zither) was invented in the early 1880's by an instrument builder named Karl A. Gutter (1823-1900), in Markneukirchen, Germany. It became one of the best selling instruments in the United States in the 1890s. The autoharp has 36 (or 37) strings made out of copper, steel and brass. When you play them all at the same time, it isn't very musical. But when you depress one the many different chord bars, the felts attached to the chord bar stop all of the strings from ringing - - except for the three or four notes you need to make the given chord. Most people play the instrument with metal or plastic fingerpicks. Instead of picks, I prefer to play it with my fingernails. Many years ago a friend allowed me to borrow his Sears Silvertone autoharp over the winter holidays. In the ensuing years I spent as much time as possible attending autoharp workshops and festivals. These experiences brought me into contact with some of the greatest living autoharp luthiers, players, and teachers, and I am deeply indebted to them for their inspiration, generosity, and support. I was fortunate to discover the autoharp at a time of genuine Autoharp Renaissance. Today, Autoharp Quarterly Magazine has over 2,400 subscribers worldwide, there are several well-established autoharp festivals on both coasts, and many excellent luthiers are producing exceptional autoharps. As a twenty-first century troubadour, it is my privilege to introduce audiences from the Everglades to the Arctic Circle, to the unique and inspiring sound of the autoharp. The instrument makes friends wherever it goes, ...
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