This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance. Mr. Herrington studies jazz guitar with Trey Wright.https://digitalcommons.kennesaw.edu/musicprograms/1932/thumbnail.jp

Herrington, Robert

English

DigitalCommons@Kennesaw State University

Kennesaw State UniversitySchool of MusicFriday, April 28, 2017 at 8 pmMusic Building Recital Hall One-hundred Thirty-third Concert of the 2016-17 Concert Season Junior RecitalA Journey in JazzRobert L. Herrington II, jazz guitarprogramThis recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Performance.Mr. Herrington studies jazz guitar with Trey Wright."A Journey in Jazz"Just a Closer Walk With Thee   |  TraditionalTake The A Train  |  Billy StrayhornDonna Lee  |  Charlie ParkerTake Five  |  Paul DesmondSister Sadie  |  Horace SilverSo What  |  Miles DavisThe Girl from Ipanema  |  Carlos Jobimprogram notesJust A Closer Walk With TheeThis work is a traditional Gospel song that has been interpreted by many artists for decades. It is frequently performed as a hymn during traditional New Orleans jazz funerals. The title and lyrics of the song allude to a specific Biblical passage, Corinthians 5:7. This classic hymn’s author is unknown but became better known through African-American church gatherings. Take the A Train  |  Billy StrayhornDuke Ellington’s iconic four bar piano introduction leads the way into one of the most famous swing era anthems. Arguably the most prolific composition to arise from the collaboration of Duke Ellington and Billy Strayhorn, “Take the A Train” would become The Ellington Orchestra’s signature tune. The title refers to the then new A subway service line in New York City. “Take the A Train” was composed in 1939 with lyrics added in 1944.BILLY STRAYHORN (November 29, 1915 - May 31, 1967)Pianist and composer Billy Strayhorn wrote key arrangements for Duke Ellington's Jazz Orchestra. The fact that Ellington used Strayhorn’s work as his opening theme speaks volumes about his appreciation for Strayhorn. In 1938 Strayhorn performed for Ellington after a concert in Pittsburgh. He boldly played his rendition of Ellington’s classic tune "Sophisticated Lady." Ellington was so impressed, it eventually led to their collaboration. Strayhorn is remembered for his signature compositions "Take the A Train," "Chelsea Bridge," and "Lush Life." Donna Lee  |  Charlie ParkerOne of the most famous bebop jazz standards, "Donna Lee" was first recorded in 1947 by Charlie Parker’s All Stars. It features an intricate melody that is signature to the style of bebop that Parker coined. The tune is a contrafact and is based off another well-known standard "Indiana." "Donna Lee" remains a popular tune in the bebop idiom.CHARLIE PARKER (August 29, 1920 – March 12, 1955)Parker, a talented saxophonist and composer is well known for being the driving force in creating the jazz style bebop. Together with Dizzy Gillespie, 1945 proved to be a landmark year as the pair would revolution the American musical landscape. Parker would become famed for his virtuosic ability as a saxophonist and his influence has challenged musicians since his debut in the jazz world.Take Five  |   Paul Desmond"Take Five" was the third track on the album Time Out, recorded in 1959 by Dave Brubeck’s Quartet. Many events were taking place in jazz at the time, but rhythmically, the music was mostly composed in four-four time. Brubeck had always been interested in polyrhythm and furthered his exploration with this work. On a trip to Turkey he thought about doing an entire album in different time signatures, like six-four, three-four, nine-eight and, in "Take Five," five-four. Time Out would become very influential and "Take Five" a favorite among jazz fans.PAUL DESMOND (November 25, 1924 - May 30, 1977)Saxophonist and composer Paul Desmond is well known as one the most popular musicians of the cool jazz era. A key member of Dave Brubeck’s quartet, Desmond composed "Take Five" the band’s signature tune. Desmond met Brubeck in the late '40s. The quartet formed toward the end of 1950. Desmond is remembered for his witty quotations from musicals, classical pieces, and folk songs. Sister Sadie  |  Horace Silver"Sister Sadie" was composed by Horace Silver in 1959. It was featured on Silver’s work, Blowin the Blues Away. "Sister Sadie" was a refreshing innovation in jazz. Silver gleefully wove in the sounds of gospel and the blues blending African American folk traditions throughout the work. The album Blowin’ the Blues Away is a classic album from Silver and is only shadowed by his most popular work, Song For My Father.HORACE SILVER (September 28, 1928 – June 18, 2014)Silver was a key contributor in codifying Hard Bop as a jazz subgenre. He was a key member in forming the Jazz Messengers. The band's first album, Horace Silver and the Jazz Messengers, was a milestone in the development of the genre that came to be known as hard bop. Many of the tunes composed by Silver for that record such as "The Preacher," "Doodlin', and "Room 608" became jazz classics. By 1956, Silver had left the Messengers to record on his own. Albums like Blowin' the Blues Away and Song for My Father featured Silver's harmonically sophisticated and formally distinctive compositions for small jazz ensemble. Silver's piano style became a role model for subsequent mainstream pianists to emulate. So What  |  Miles Davis"So What" is the opening feature to Miles Davis’s Kind of Blue released in 1959. Kind of Blue has become the best-selling jazz record of all time and is known in many musical circles. "So What" like many of tunes of that album revolutionized jazz as it was a successful experiment in modality. The concepts wrought from Kind of Blue gave jazz a new energy involving a break from the norms found in jazz that were derived from the Tin Pan Alley era of songwriting.MILES DAVIS (May 26, 1926 – September 28, 1991)Nine-time Grammy Award winner Miles Davis was a major force in the jazz world, as both a trumpet player and a bandleader. Davis is often thought of as the most influential figure in jazz. Davis influenced and pioneered many trends in jazz music and is most known for popularizing modal jazz with his work Kind of Blue. Davis is renowned for his association with Charlie Parker during the bebop era, his work Birth of The Cool, influencing cool jazz, and his collaborations with Gil Evans. During the 1950s, Davis would release nearly thirty records. In the 1960s he would change the shape of jazz by mentoring some of jazz’s greatest innovators - Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams. During the 1970s Miles became enthralled in moving jazz toward an electric phase which wrought new fusions between genres and styles. Davis is remembered for being a constant innovator in the jazz tradition.The Girl From Ipanema  |  Carlos JobimBrazil has enjoyed the warmth of a rich musical culture. The country has introduced many great works, but without question is remembered as the source of Bossa Nova. "The Girl from Ipanema" became the catalyst for a musical movement of Brazilian-inspired music. In the United States, the music was closely associated with jazz after Stan Getz recorded the work about the musician   Robert Herrington is an Atlanta-based jazz guitarist and composer pursuing his vision to teach Jazz and African American Studies in higher education. As a youth Herrington was inspired by the African diaspora and began critically researching the origins of African American traditions and American popular music, quickly becoming enthralled with the blues and jazz. In December of 2011, Herrington graduated with an Associate of Arts degree in Music Performance at Darton State College, first studying classical guitar and music theory, then upon exposure to jazz joined the jazz ensemble and began to study both classical and jazz concepts. Herrington is currently enrolled at Kennesaw State University pursuing a Bachelor’s degree in Music Performance with a minor in Africana Studies. A member of three of KSU’s top ensembles, he can be heard with the Jazz Orchestra, Jazz Guitar Ensemble, and Jazz Combo, and performs regularly at venues around the greater metro-Atlanta area.with Brazilian singer and guitarist Joao Gilberto and his wife Astrud Gilberto on vocals. The piece spotlighted Brazilian culture establishing Bossa Nova as a permanent part of the American musical landscape. ANTONIO CARLOS JOBIM (January 25, 1927 – December 8, 1994)A talented musician and composer, Jobim had a remarkable career. Hailed as one of Brazil’s greatest artists, he was a pioneering force in creating the Bossa Nova style. Jobim’s influences were heavily rooted in jazz, but he also had a love for impressionist classical works. These influences along with the Brazilian samba would guide Jobim to new heights. Jobim is well remembered and regarded as a significant songwriter of the 20th century. Many of his compositions have gone on become jazz standards.SCHOOL OF MUSIC FACULTY AND STAFF                 Stephen W. Plate, DirectorMusic EducationJudith BealeJanet BonerKathleen CreasyCharles JacksonAlison MannAngela McKeeRichard McKeeCory MealsHarry PriceTerri TalleyChris ThibdeauAmber Weldon-   StephensMusic History & AppreciationDrew DolanEdward EanesHeather HartKayleen JustusMusic Theory, Composition, TechnologyJudith ColeSteve DanczKelly FrancisJennifer Mitchell Laurence SherrBenjamin   WadsworthJeff YunekWoodwindsRobert Cronin, FluteTodd Skitch, Flute Christina Smith, Flute Cecilia Price, Flute, Chamber MusicShelly Myers, OboeElizabeth Koch Tiscione, Oboe John Warren, Clarinet, Chamber Music Andrew Brady, Bassoon Sam Skelton, SaxophoneLuke Weathington, SaxophoneBrass & Percussion Doug Lindsey, Trumpet, Chamber MusicMike Tiscione, TrumpetAnna Dodd, HornJason Eklund, HornTom Gibson, TromboneNathan Zgonc, TromboneBrian Hecht, Bass Trombone Martin Cochran, EuphoniumPaul Dickinson, Tuba / EuphoniumBernard Flythe, Tuba / EuphoniumJohn Lawless, PercussionStringsHelen Kim, Violin Kenn Wagner, Violin, Chamber MusicCatherine Lynn, Viola Paul Murphy, ViolaCharae Krueger, CelloJames Barket, Double BassJoseph McFadden, Double Bass Elisabeth Remy Johnson, Harp Mary Akerman, Classical GuitarVoiceStephanie AdrianJessica JonesEileen MoremenOral MosesLeah PartridgeValerie WaltersTodd WedgeJana YoungPianoJudith Cole, Collaborative Piano Julie CoucheronRobert HenryJohn Marsh, Class PianoSoohyun YunJazzJustin Chesarek, Jazz PercussionWes Funderburk, Jazz Trombone, Jazz   EnsemblesTyrone Jackson, Jazz PianoMarc Miller, Jazz BassSam Skelton, Jazz EnsemblesRob Opitz, Jazz TrumpetTrey Wright, Jazz Guitar, Jazz CombosEnsembles & ConductorsLeslie J. Blackwell, Choral ActivitiesAlison Mann, Choral ActivitiesCory Meals, University Band,   Marching BandOral Moses, Gospel ChoirEileen Moremen, OperaNathaniel F. Parker, Symphony OrchestraChristopher Thibdeau, Philharmonic   OrchestraDebra Traficante, Wind Symphony,   Marching BandDavid T. Kehler, Wind EnsembleSchool of Music StaffJulia Becker, Administrative Specialist IIIDavid Daly, Director of Programming and    FacilitiesSusan M. Grant Robinson, Associate   Director for AdministrationJoseph Greenway, Technical DirectorErik Kosman, Technical CoordinatorDan Hesketh, Digital Media SpecialistJune Mauser, Administrative Associate IIRichard Peluso, Coordinator of Band   Operations and OutreachShawn Rieschl Johnson, Facility   Operations ManagerEnsembles in ResidenceAtlanta Percussion TrioKSU Faculty Jazz ParliamentGeorgia Youth Symphony Orchestra   and ChorusKSU Faculty Chamber PlayersKSU Faculty String TrioKSU Community and Alumni Choirabout the school of music`/musicKSU     t@musicKSU     y/musicKSU         @musicKSUmusicKSU.comVisit the Live Streaming page on musicKSU.com to watch live broadcasts of manyof our concerts and to view the full schedule of upcoming live streamed events.Please consider a gift to the Kennesaw State University School of Music. http://community.kennesaw.edu/GiveToMusicconnect with usThe School of Music at Kennesaw State University is an exciting place to live, work and learn. Housed in the College of the Arts, the School is infused with masterfully skilled and dedicated performing teachers who care deeply about their profession, our programs, our community, and every student involved in music and the arts. We are so excited about the musical and artistic events that happen here, and we are excited that you are here with us to enjoy them! The School of Music is busy preparing our students to be productive artists. We want them to be accomplished and creative leaders of the arts world of tomorrow, professionals who are diversely trained and well-practiced. Diverse in their backgrounds, our students hail from many of the leading musical arts and honors organizations from across the Southeast, and as a School of Music, we are dedicated to the purpose of furthering the arts and cultural offerings to our region and beyond.Please take the time to meet our faculty, students and staff. Interact with them, talk shop with them - their enthusiasm is contagious whether on or off the stage. I look forward to a long and rewarding relationship with you. With your continued support of music and the arts, there is nothing that we cannot accomplish together!  Stephen W. Plate, DMADirectorKSU School of Music

Junior Recital: Robert L. Herrington II, jazz guitar

https://digitalcommons.kennesaw.edu/cgi/viewcontent.cgi?article=1932&amp;context=musicprograms

Junior Recital: Robert L. Herrington II, jazz guitar

Abstract

Similar works

Full text

Available Versions

DigitalCommons@Kennesaw State University