This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Pace studies jazz percussion with Justin Chesarek.https://digitalcommons.kennesaw.edu/musicprograms/1802/thumbnail.jp

Lloyd, Drew

Novik, Stacey

Optiz, Michael

Pace, Jonathan

Reid, Brian

English

DigitalCommons@Kennesaw State University

Kennesaw State UniversitySchool of MusicThursday, December 8, 2016 at 7 pmDr. Bobbie Bailey & Family Performance Center, Rehearsal Hall Sixty-fourth Concert of the 2016-17 Concert Season Junior RecitalJonathan Pace, jazz percussionprogramBEN BERNIE (1891-1943),MACEO PINKARD (1897-1962)arr. Jo Jones TrioSweet Georgia BrownCHRIS WOODS (1925-1985)arr. Clifford Brown and Max RoachBlues WalkSIGMUND ROMBERG (1887-1951),OSCAR HAMMERSTEIN II (1895-1960)Softly, as in the Morning SunriseHARRY DIXON LOES (1892-1965)lyrics by Avis Burgeson Christiansen, arr. Ari HoenigThis Little Light of MineThis recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance.Mr. Pace studies jazz percussion with Justin Chesarek.program notesSweet Georgia Brown  |  Ben Bernie and Maceo PinkardThis arrangement of the classic 1925 jazz standard “Sweet Georgia Brown” was recorded by The Jo Jones Trio in 1959. Jonathan David Samuel "Jo" Jones, known by his stage name “Papa Jo Jones,” is a pioneering jazz drummer who is credited with changing the way drummers approach playing jazz music on the drumset. Before him, it was standard for drummers to keep time by playing quarter notes on the bass drum. He popularized a lighter approach to time keeping that utilized the hi-hat and ride cymbal instead. He is also one of the first drummers to popularize the use of brushes on the drums. Papa Jo Jones is most widely known for his work with the Count Basie Orchestra from 1934 till 1948. He was a dazzling showman and entertainer, and would utilize a wide variety of techniques on the drums including using only his bare hands. Blues Walk  |  Chris WoodsThis version of “Blues Walk” is based on the 1955 recording by trumpeter Clifford Brown and drummer Max Roach. Max Roach is considered by many to be the most influential jazz drummer in history. He is a pioneering bebop drummer and is one of the first drummers to treat the drumset as a solo instrument. His 1965 album Drums Unlimited proved that the drumset could function as a solo melodic instrument that could play themes and variations. Max Roach’s style of drumming had a big impact on early rock and roll drummers. John Bonham from Led Zeppelin, Ginger Baker from Cream, and Charlie Watts from The Rolling Stones all credit Roach as a major influence.Softly, as in a Morning Sunrise  |  Sigmund Romberg andOscar Hammerstein IIThe jazz standard “Softly, as in a Morning Sunrise” was written in 1928. The version I am playing is based on a 1961 performance by Miles Davis’ group featuring Jimmy Cobb on drums, Paul Chambers on bass, and Wynton Kelly on piano, on the album In Person Friday and Saturday Nights at the Blackhawk, Complete. The drum solo I am going to play is a transcription of the solo played by Jimmy Cobb on this recording. Jimmy Cobb was Miles Davis’ long time drummer and recorded many albums with him including the 1959 classic Kind of Blue. He also worked with many other legendary jazz artists including John Coltrane, Dizzy Gillespie, Sarah Vaughn, Cannonball Adderley, and Wes Montgomery. personnelThis Little Light of Mine  |  Harry Dixon LoesThis version of the spiritual “This Little Light of Mine” is based on a version on the 2007 album Inversations by contemporary jazz drummer Ari Hoenig. Ari Hoenig is on the forefront of modern jazz drumming. He has written books on advanced rhythmic concepts and is known for playing melodies on a standard 4-piece jazz drum set. In “This Little Light of Mine,” this can be achieved by tuning the drums to a 2nd inversion F major triad. The floor tom is tuned to a C, the high tom is tuned to an F, and the snare drum is tuned to an A. The only other notes in this melody are D, G, and B flat, and these can be achieved by pressing a mallet into the drumhead to bend the pitch upwards.Jonathan Pace, drumsDrew Lloyd, bassBrian Reid, pianoStacey Novik, trumpetMichael Opitz, tenor saxophone

Junior Recital: Jonathan Pace, jazz percussion

https://digitalcommons.kennesaw.edu/cgi/viewcontent.cgi?article=1802&context=musicprograms

Junior Recital: Jonathan Pace, jazz percussion

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