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An Evening Of Jazz With Dick Hyman (March 28, 2009).
The City Of Fairfax Band is presenting An Evening Of Jazz, With Dick Hyman 8PM March 28, 2009, at Fairfax High School Auditorium in Fairfax VA.
Be there or be square.
Here is some descriptive information about the tunes that will be on the program . . .
Themes Like Old Times (Warren Barker, 1923-2006). With all the musical work for film, radio, & television that kept Warren Barker occupied & in demand, it's hard to imagine how he also found time to do so many special arrangements for reeds & brass & percussion that have enriched the concert band repertoire. In Themes Like Old Times, Warren Barker revived some good old tunes that take us way back to the good old days, featuring some of America's best loved 24-karat golden oldies like “Alexander’s Ragtime Band” & “Peg O’ My Heart” -- plus “I Want A Girl (Just Like The Girl That Married Dear Old Dad)” & “By The Light Of The Silvery Moon,” with “12th Street Rag” added to the mix. When you hear numbers like those, it really does seem like old times.
Down Home Melody (Dick Hyman). All through the 1950s & 1960s, no top pianist was busier with studio recording sessions of all kinds than Dick Hyman. Yet he also managed to record many albums as leader of his own group during that same period, including The Dick Hyman Trio featuring Osie Johnson (drums) and Joe Benjamin (bass). The three recorded Hyman's Down Home Melody on a 1961 album. In the fleeting time between studio sessions, Dick Hyman created a special arrangement of Down Home Melody for concert band, which was published in 1961. Tonight's performance is not just for band, but for band & piano solo, with the composer at the keyboard.
Three Preludes (George Gershwin, 1898-1937). George Gershwin’s music has penetrated the culture so thoroughly that it is a part of our musical subconscious. We can hum or whistle a Gershwin tune spontaneously without a thought as to who composed it, or even that it was composed at all, because it seems to be so much a part of the American fabric. Gershwin did not show much interest in music as a child. His family didn’t even have an instrument in the house until George was 12, when his parents bought a 2nd-hand piano for George’s brother Ira.. But it turned out George already knew how to play from noodling on a neighbor’s piano. By age 15 George had a job as a song-plugger pianist with a Tin Pan Alley publishing firm. He was only 20 when he wrote “Swanee,” which became a big hit after Al Jolson put it in a show. From then on Gershwin had nothing but success. He composed for stage shows & films, creating songs with staying power. The director of the 1st performance of Porgy & Bess, said: “I've heard many pianists & composers play for informal gatherings, but I know of no one who did it with such genuine delight & verve... George at the piano was George happy. He would draw a lovely melody out of the keyboard like a golden thread, then he would play with it & juggle it, twist it & toss it around mischievously, weave it into unexpected intricate patterns, tie it in knots & untie it & hurl it into a cascade of ever changing rhythms & counterpoints.” Gershwin performed his 5 preludes for piano for the 1st time on December 4, 1926. He published 3 of them in 1927. The adaptations on tonight’s program were arranged for concert band by Robert Pouliot, music director of the City Of Fairfax Band.
Cuban Overture (George Gershwin, 1898-1937). Workaholic George Gershwin practically knocked himself out in 1931 on his musical Of Thee I Sing & his soundtrack music for the movie Delicious, not to mention his Second Rhapsody, which premiered in January 1932. So to unwind in February 1932, he spent a couple of weeks in Havana -- more for fun than for relaxation. Gershwin described his Havana vacation as “2 hysterical weeks in Cuba, where no sleep was had.” A big part of the experience was total immersion in exotic tunes & rhythms -- the street musicians practically everywhere & the Afro-Cuban dance numbers featured in the clubs. He came home with a set of claves -- Gershwin called them “Cuban sticks” -- plus bongos, maracas, & a gourd. He also brought back the idea for a Cuban-style orchestral piece he wanted to write. He began in July & finished just in time to conduct the premiere at the New York Philharmonic's 1st All-Gershwin concert August 16, 1932. Gershwin wrote that it was “the most exciting night I have ever had . . . 17,845 people paid to get in & just about 5,000 were at the closed gates trying to fight their way in.” Gershwin's original title for the symphonic overture was simply Rumba. But when Gershwin conducted the piece at a Metropolitan Opera benefit concert 3 months later, he renamed it Cuban Overture in case anybody might assume it was simply a juke box number or a novelty tune. “Cuban Overture gives a more just idea of the character & intent of the music,” he said, which was to “embody the essence of the Cuban dance.”
Tribute to Ferdinand "Jelly Roll" Morton (1890-1941), arranged by Dick Hyman. Ferdinand Joseph Lamothe was born in a Creole community of downtown New Orleans. He took the name “Morton” by anglicizing “Mouton,” his stepfather's name. By age 14 he was playing piano in the Storyville red light district. When his church-going great-grandmother found out, she threw him out of the house. (She thought he worked at a barrel factory.) After that, Morton rolled around the South playing minstrel shows & composing lively tunes. He got to Chicago by 1910, made it to New York City in 1911, & got all the way to Hollywood in 1917. Back in Chicago in 1923, Morton started commercially recording piano rolls & gramophone records. After Victor Records signed him in 1926, he was able to have a well-rehearsed band record his arrangements in Victor's Chicago studios. He moved back to New York in 1928, but his Victor recordings there never matched the success of his Chicago sessions. Then the record business tanked with the onset of the Great Depression & his Victor contract was not renewed in 1931, leaving him to try radio & then play in a traveling burlesque show. In 1935, Morton moved to Washington DC to manage and play piano at a joint called at various times the “Music Box,” “Blue Moon Inn,” & “Jungle Inn” at 1211 U Street NW in the Shaw neighborhood, where he was also the MC, bouncer, & bartender. The business was not a success, partly because the club owner let all her friends in free and & let them have free drinks. A knife fight in which Morton got stabbed in the head & chest in 1938 put an end to Morton's sojourn in the Nation's Capital. He never fully recovered. He died in Los Angeles while trying to restart his career with a new band & some new tunes. Morton's accomplishments as an early innovator are so immense that he had no need to stretch the truth by claiming as he sometimes did that he himself invented jazz outright in 1902. Regardless of all self-promotion, Ferdinand “Jelly Roll” Morton was the 1st major serious composer of jazz, naming & popularizing what Morton called “the Spanish tinge.” In a Library of Congress interview, he said, “Now in one of my earliest tunes, 'New Orleans Blues,' you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.”
The Finger Breaker (from the 1930s). Morton wrote this flashy, furious piano solo not just to show off his own talent in front of audiences but just as much to challenge other pianists to try, if they could, to summon the talent & technical dexterity needed to play this bravura showpiece. Alternate titles for the piece are “The Finger Buster" and “The Finger Wrecker.” After you hear Dick Hyman play it live & in person tonight, you can watch how he does it up close via You Tube on the Internet.
Grandpa's Spells is a ragtime stomp that Ferdinand “Jelly Roll” Morton 1st recorded as a piano solo in 1923. Commenting on a recording that Morton made the following year in Cincinnati, a reviewer at Jazz Dot Com says: “'Grandpa’s Spells' is nearly a rag in feeling, except with a swing beat & a generally rougher feel. A lot of the time Morton plays overtones in the left hand (usually the 5th note up from the bottom) that imply drums while the brilliant graces on top imply New Orleans-style clarinetists. The F-major trio features a left-hand smash, a dark cluster tossed off casually like a whiskey bottle kicked under the piano.”
The Crave is an example in Ferdinand “Jelly Roll” Morton's work of the Latin influence that no doubt came from the blends of Spanish & French creole styles heard all over New Orleans when Morton was growing up -- what he referred to as “the Spanish tinge.”
The Pearls, composed in 1919, is one of the most attractive works by Ferdinand “Jelly Roll” Morton.
Mr. Hyman recorded the compositions heard in tonight's Jelly Roll Morton Tribute in 1974. About these pieces, he said, “This is an attempt to present Ferdinand 'Jelly Roll' Morton as 1 of those neglected composers who, like Scott Joplin, are now being given their due as creators of uniquely American music. Jelly Roll Morton's composing derived from his piano playing, which was shaped by the times & places where he lived & were very much improvised. We can hear this in the differing versions of his compositions which he left us. He was a true Jazz Man in this sense, & his constant inventiveness presents us with an interesting challenge in deciding which versions of his works are the ideal ones to orchestrate.” Mr. Hyman arranged the ensemble pieces in marching band style, with jazz underpinnings. They are scored for 3 trumpets, 3 trombones, 3 flutes, 2 clarinets, 2 horns, banjo or guitar, string bass, drum set, & percussion, with solo piano.
Dancin' Into The 20's, arranged by Donald Hunsberger (1932- ). Dr. Hunsburger led the Eastman Wind Ensemble (1965-2001) & was Professor Of Conducting at the Eastman School of Music. He has arranged transcriptions of orchestral music for concert band, including pieces by Shostakovich, Kabalevsky, Grafulla, & Khachaturian. Dr. Hunsberger has conducted performances with major symphony orchestras & has appeared as guest conductor with the City Of Fairfax Band.
Piccalilli Rag by George A. Reeg Jr. was published as a solo piano piece by Joseph M. Daly Music Publisher, 665 Washington Street, Boston, Massachusetts, copyright MCMXII. All rights for mechanical instruments [player pianos] reserved. International copyright secured. A PDF facsimile of the music as published (5 pages) is in the digital sheet music library of Mississippi State University.
The Richard's Tango by Elizabeth Scates was included in Dancin' Into The 20s, according to the publisher, to reflect some of the styles of music used for social dancing during the period, each example in the suite chosen to serve as a special representation of music from a bygone era in American musical & theatrical history.
Hunkatin - A Half Tone One-Step (Sol Paul Levy, 1881-1920). Sol Levy was born in Chicago & studied music with his father. He was 1st clarinetist in both the John Philip Sousa Band & the Arthur Pryor Band, & later was in charge of the foreign orchestrating department for Victor Records. His songs included “Because You Say Goodbye,” “Hunka-Tin,” “Roses That Die Bloom Again,” & “That Naughty Waltz.” He was one of the founders of Belwin Music. According to the National Museum of the U.S. Air Force, “Hunka Tin” was the name of a poem (a take-off on Gunda Din ) about Model-T Fords that were converted to WWI ambulances...
Ragtime Fantasy (Dick Hyman). Before there was jazz, there was ragtime -- a wholly original American musical form whose heyday was from 1897 to 1918. Ragtime's popularity faded when jazz took hold. But ragtime never completely disappeared, nor did jazz ever lose its historical kinship with ragtime. The defining characteristic of ragtime music is its special variety of syncopation -- what Scott Joplin called that weird & intoxicating effect -- in which melodic accents occur between the steady beats of the accompaniment. The result is a melody that seems to be getting ahead of the beat sometimes & just as often seems like it's falling behind, as the tune emphasizes notes both anticipating & then lagging the music's pulse in ragged fashion. The apt phrase “ragged time” -- describing the creative mismatch between steady pulse on the 1 hand (on piano, usually the left) & the syncopated melody on the other (right) hand -- soon got shortened to “ragtime.” Ragtime's origins are closely associated with the piano, but not exclusively. Famed trombonist Arthur Pryor (1870-1942) left the Sousa band in 1903 & formed not only his own touring band, but also his own small orchestra exclusively for recording in New York City & Camden NJ. Pryor's ensemble recordings helped spread the popularity of ragtime, & his recording library of sheet music, thought to have been destroyed in the 1920s, was rediscovered in 1985 -- a treasure trove of ragtime gems in a heap of what the owner thought was old scrap paper. Just as the popularity of ragtime was spread both by piano & by bands, so Dick Hyman's original & evocative Ragtime Fantasy highlights both the soloist at the keyboard & the accompanying instrumental ensemble. Dick Hyman said, “I wrote Ragtime Fantasy in 1976 after recording several albums of music by Scott Joplin, Ferdinand “Jelly Roll” Morton, Zez Confrey, & others. That concentrated experience of performing in the styles of those early greats inspired me to compose a ragtime concert piece of my own. I wrote Ragtime Fantasy for piano & orchestra, & I have performed the piece with many symphony orchestras. I am grateful to Paul Murtha for rescoring the piece for piano & concert band. Tonight's premiere performance of Ragtime Fantasy is my first time playing it with concert band accompaniment.”
The City Of Fairfax Band is presenting An Evening Of Jazz, With Dick Hyman 8PM March 28, 2009, at Fairfax High School Auditorium in Fairfax VA.
Be there or be square.
Here is some descriptive information about the tunes that will be on the program . . .
Themes Like Old Times (Warren Barker, 1923-2006). With all the musical work for film, radio, & television that kept Warren Barker occupied & in demand, it's hard to imagine how he also found time to do so many special arrangements for reeds & brass & percussion that have enriched the concert band repertoire. In Themes Like Old Times, Warren Barker revived some good old tunes that take us way back to the good old days, featuring some of America's best loved 24-karat golden oldies like “Alexander’s Ragtime Band” & “Peg O’ My Heart” -- plus “I Want A Girl (Just Like The Girl That Married Dear Old Dad)” & “By The Light Of The Silvery Moon,” with “12th Street Rag” added to the mix. When you hear numbers like those, it really does seem like old times.
--oOo--
Down Home Melody (Dick Hyman). All through the 1950s & 1960s, no top pianist was busier with studio recording sessions of all kinds than Dick Hyman. Yet he also managed to record many albums as leader of his own group during that same period, including The Dick Hyman Trio featuring Osie Johnson (drums) and Joe Benjamin (bass). The three recorded Hyman's Down Home Melody on a 1961 album. In the fleeting time between studio sessions, Dick Hyman created a special arrangement of Down Home Melody for concert band, which was published in 1961. Tonight's performance is not just for band, but for band & piano solo, with the composer at the keyboard.
--oOo--
Three Preludes (George Gershwin, 1898-1937). George Gershwin’s music has penetrated the culture so thoroughly that it is a part of our musical subconscious. We can hum or whistle a Gershwin tune spontaneously without a thought as to who composed it, or even that it was composed at all, because it seems to be so much a part of the American fabric. Gershwin did not show much interest in music as a child. His family didn’t even have an instrument in the house until George was 12, when his parents bought a 2nd-hand piano for George’s brother Ira.. But it turned out George already knew how to play from noodling on a neighbor’s piano. By age 15 George had a job as a song-plugger pianist with a Tin Pan Alley publishing firm. He was only 20 when he wrote “Swanee,” which became a big hit after Al Jolson put it in a show. From then on Gershwin had nothing but success. He composed for stage shows & films, creating songs with staying power. The director of the 1st performance of Porgy & Bess, said: “I've heard many pianists & composers play for informal gatherings, but I know of no one who did it with such genuine delight & verve... George at the piano was George happy. He would draw a lovely melody out of the keyboard like a golden thread, then he would play with it & juggle it, twist it & toss it around mischievously, weave it into unexpected intricate patterns, tie it in knots & untie it & hurl it into a cascade of ever changing rhythms & counterpoints.” Gershwin performed his 5 preludes for piano for the 1st time on December 4, 1926. He published 3 of them in 1927. The adaptations on tonight’s program were arranged for concert band by Robert Pouliot, music director of the City Of Fairfax Band.
--oOo--
Cuban Overture (George Gershwin, 1898-1937). Workaholic George Gershwin practically knocked himself out in 1931 on his musical Of Thee I Sing & his soundtrack music for the movie Delicious, not to mention his Second Rhapsody, which premiered in January 1932. So to unwind in February 1932, he spent a couple of weeks in Havana -- more for fun than for relaxation. Gershwin described his Havana vacation as “2 hysterical weeks in Cuba, where no sleep was had.” A big part of the experience was total immersion in exotic tunes & rhythms -- the street musicians practically everywhere & the Afro-Cuban dance numbers featured in the clubs. He came home with a set of claves -- Gershwin called them “Cuban sticks” -- plus bongos, maracas, & a gourd. He also brought back the idea for a Cuban-style orchestral piece he wanted to write. He began in July & finished just in time to conduct the premiere at the New York Philharmonic's 1st All-Gershwin concert August 16, 1932. Gershwin wrote that it was “the most exciting night I have ever had . . . 17,845 people paid to get in & just about 5,000 were at the closed gates trying to fight their way in.” Gershwin's original title for the symphonic overture was simply Rumba. But when Gershwin conducted the piece at a Metropolitan Opera benefit concert 3 months later, he renamed it Cuban Overture in case anybody might assume it was simply a juke box number or a novelty tune. “Cuban Overture gives a more just idea of the character & intent of the music,” he said, which was to “embody the essence of the Cuban dance.”
--oOo--
Tribute to Ferdinand "Jelly Roll" Morton (1890-1941), arranged by Dick Hyman. Ferdinand Joseph Lamothe was born in a Creole community of downtown New Orleans. He took the name “Morton” by anglicizing “Mouton,” his stepfather's name. By age 14 he was playing piano in the Storyville red light district. When his church-going great-grandmother found out, she threw him out of the house. (She thought he worked at a barrel factory.) After that, Morton rolled around the South playing minstrel shows & composing lively tunes. He got to Chicago by 1910, made it to New York City in 1911, & got all the way to Hollywood in 1917. Back in Chicago in 1923, Morton started commercially recording piano rolls & gramophone records. After Victor Records signed him in 1926, he was able to have a well-rehearsed band record his arrangements in Victor's Chicago studios. He moved back to New York in 1928, but his Victor recordings there never matched the success of his Chicago sessions. Then the record business tanked with the onset of the Great Depression & his Victor contract was not renewed in 1931, leaving him to try radio & then play in a traveling burlesque show. In 1935, Morton moved to Washington DC to manage and play piano at a joint called at various times the “Music Box,” “Blue Moon Inn,” & “Jungle Inn” at 1211 U Street NW in the Shaw neighborhood, where he was also the MC, bouncer, & bartender. The business was not a success, partly because the club owner let all her friends in free and & let them have free drinks. A knife fight in which Morton got stabbed in the head & chest in 1938 put an end to Morton's sojourn in the Nation's Capital. He never fully recovered. He died in Los Angeles while trying to restart his career with a new band & some new tunes. Morton's accomplishments as an early innovator are so immense that he had no need to stretch the truth by claiming as he sometimes did that he himself invented jazz outright in 1902. Regardless of all self-promotion, Ferdinand “Jelly Roll” Morton was the 1st major serious composer of jazz, naming & popularizing what Morton called “the Spanish tinge.” In a Library of Congress interview, he said, “Now in one of my earliest tunes, 'New Orleans Blues,' you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.”
The Finger Breaker (from the 1930s). Morton wrote this flashy, furious piano solo not just to show off his own talent in front of audiences but just as much to challenge other pianists to try, if they could, to summon the talent & technical dexterity needed to play this bravura showpiece. Alternate titles for the piece are “The Finger Buster" and “The Finger Wrecker.” After you hear Dick Hyman play it live & in person tonight, you can watch how he does it up close via You Tube on the Internet.
Grandpa's Spells is a ragtime stomp that Ferdinand “Jelly Roll” Morton 1st recorded as a piano solo in 1923. Commenting on a recording that Morton made the following year in Cincinnati, a reviewer at Jazz Dot Com says: “'Grandpa’s Spells' is nearly a rag in feeling, except with a swing beat & a generally rougher feel. A lot of the time Morton plays overtones in the left hand (usually the 5th note up from the bottom) that imply drums while the brilliant graces on top imply New Orleans-style clarinetists. The F-major trio features a left-hand smash, a dark cluster tossed off casually like a whiskey bottle kicked under the piano.”
The Crave is an example in Ferdinand “Jelly Roll” Morton's work of the Latin influence that no doubt came from the blends of Spanish & French creole styles heard all over New Orleans when Morton was growing up -- what he referred to as “the Spanish tinge.”
The Pearls, composed in 1919, is one of the most attractive works by Ferdinand “Jelly Roll” Morton.
Mr. Hyman recorded the compositions heard in tonight's Jelly Roll Morton Tribute in 1974. About these pieces, he said, “This is an attempt to present Ferdinand 'Jelly Roll' Morton as 1 of those neglected composers who, like Scott Joplin, are now being given their due as creators of uniquely American music. Jelly Roll Morton's composing derived from his piano playing, which was shaped by the times & places where he lived & were very much improvised. We can hear this in the differing versions of his compositions which he left us. He was a true Jazz Man in this sense, & his constant inventiveness presents us with an interesting challenge in deciding which versions of his works are the ideal ones to orchestrate.” Mr. Hyman arranged the ensemble pieces in marching band style, with jazz underpinnings. They are scored for 3 trumpets, 3 trombones, 3 flutes, 2 clarinets, 2 horns, banjo or guitar, string bass, drum set, & percussion, with solo piano.
--oOo--
Dancin' Into The 20's, arranged by Donald Hunsberger (1932- ). Dr. Hunsburger led the Eastman Wind Ensemble (1965-2001) & was Professor Of Conducting at the Eastman School of Music. He has arranged transcriptions of orchestral music for concert band, including pieces by Shostakovich, Kabalevsky, Grafulla, & Khachaturian. Dr. Hunsberger has conducted performances with major symphony orchestras & has appeared as guest conductor with the City Of Fairfax Band.
Piccalilli Rag by George A. Reeg Jr. was published as a solo piano piece by Joseph M. Daly Music Publisher, 665 Washington Street, Boston, Massachusetts, copyright MCMXII. All rights for mechanical instruments [player pianos] reserved. International copyright secured. A PDF facsimile of the music as published (5 pages) is in the digital sheet music library of Mississippi State University.
The Richard's Tango by Elizabeth Scates was included in Dancin' Into The 20s, according to the publisher, to reflect some of the styles of music used for social dancing during the period, each example in the suite chosen to serve as a special representation of music from a bygone era in American musical & theatrical history.
Hunkatin - A Half Tone One-Step (Sol Paul Levy, 1881-1920). Sol Levy was born in Chicago & studied music with his father. He was 1st clarinetist in both the John Philip Sousa Band & the Arthur Pryor Band, & later was in charge of the foreign orchestrating department for Victor Records. His songs included “Because You Say Goodbye,” “Hunka-Tin,” “Roses That Die Bloom Again,” & “That Naughty Waltz.” He was one of the founders of Belwin Music. According to the National Museum of the U.S. Air Force, “Hunka Tin” was the name of a poem (a take-off on Gunda Din ) about Model-T Fords that were converted to WWI ambulances...
Yes, Tin, Tin, Tin.
You exasperating puzzle, Hunka Tin.
I've abused you and I've flayed you,
But by Henry Ford who made you,
You are better than a Packard, Hunka Tin.
You exasperating puzzle, Hunka Tin.
I've abused you and I've flayed you,
But by Henry Ford who made you,
You are better than a Packard, Hunka Tin.
--oOo--
Ragtime Fantasy (Dick Hyman). Before there was jazz, there was ragtime -- a wholly original American musical form whose heyday was from 1897 to 1918. Ragtime's popularity faded when jazz took hold. But ragtime never completely disappeared, nor did jazz ever lose its historical kinship with ragtime. The defining characteristic of ragtime music is its special variety of syncopation -- what Scott Joplin called that weird & intoxicating effect -- in which melodic accents occur between the steady beats of the accompaniment. The result is a melody that seems to be getting ahead of the beat sometimes & just as often seems like it's falling behind, as the tune emphasizes notes both anticipating & then lagging the music's pulse in ragged fashion. The apt phrase “ragged time” -- describing the creative mismatch between steady pulse on the 1 hand (on piano, usually the left) & the syncopated melody on the other (right) hand -- soon got shortened to “ragtime.” Ragtime's origins are closely associated with the piano, but not exclusively. Famed trombonist Arthur Pryor (1870-1942) left the Sousa band in 1903 & formed not only his own touring band, but also his own small orchestra exclusively for recording in New York City & Camden NJ. Pryor's ensemble recordings helped spread the popularity of ragtime, & his recording library of sheet music, thought to have been destroyed in the 1920s, was rediscovered in 1985 -- a treasure trove of ragtime gems in a heap of what the owner thought was old scrap paper. Just as the popularity of ragtime was spread both by piano & by bands, so Dick Hyman's original & evocative Ragtime Fantasy highlights both the soloist at the keyboard & the accompanying instrumental ensemble. Dick Hyman said, “I wrote Ragtime Fantasy in 1976 after recording several albums of music by Scott Joplin, Ferdinand “Jelly Roll” Morton, Zez Confrey, & others. That concentrated experience of performing in the styles of those early greats inspired me to compose a ragtime concert piece of my own. I wrote Ragtime Fantasy for piano & orchestra, & I have performed the piece with many symphony orchestras. I am grateful to Paul Murtha for rescoring the piece for piano & concert band. Tonight's premiere performance of Ragtime Fantasy is my first time playing it with concert band accompaniment.”
--xXx--
-- Alan Cole, McLean (Fairfax County), Virginia, USA.
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