PE - 10/25/17 Butler
Zachary Criss, Warren, OH
Spencer Crosser, Lisbon, OH
Joel Gillespie, East Liverpool, OH
Brandon Maffitt, Warren, OH
Evan McCreary, Poland, OH
James Reardon, East Liverpool, OH
Tracy Rusk, Brookfield, OH
Tommy Starr, Pittsburgh, PA
Anthony Tresky, Pittsburgh, PA
Nathan Weingart, Canfield, OH
Brett Whitely, Orwell, OH
Glenn’s career spans idioms such as classical, new music, world music, jazz, blues, rock, reggae, funk, Brazilian, West African, and Afro-Cuban. Glenn has recorded and served as executive producer with the Youngstown Percussion Collective, Dave Morgan, Ron Coulter, John Hollenbeck, Cleveland Chamber Symphony, Scott Wyatt, Amanda Powell, Air Force Band of Mid-America, Youngstown State University Wind Ensemble, and myriad jingles.
His credits include conductors Giora Bernstein, Jeffery Siegel, Anton Coppola, Edwin London, Gunther Schuller, Paul Martin Zonn, Peter Schickele, aka P.D.Q. Bach ensembles such as Colorado Music Festival, Skaneateles (NY) Chamber Music Festival, "Artist In Residence" at Baldwin-Wallace University with BATTU contemporary/world percussion group, Cleveland Chamber Symphony, Cleveland Ballet, Ohio Chamber Orchestra, Cleveland Opera, Robert Page Singers, Akron Symphony, Richmond Symphony, Springfield (IL) Symphony, Youngstown Symphony, Duluth-Superior Symphony, Champaign-Urbana Symphony, Lake Superior Chamber Orchestra, Dance Theater of Harlem, Cleveland Dance Collective, and artists such as Paul Sperry, Julie Newell, Robert Weirich, Robert Van Sice, Peter Erskine, and Ben Toth.
Glenn drumset and world music credits include Ruben Alvarez, American Jazz Orchestra, Chuck Berry, Nick Brignola, Freddie Bryant, Ndugu Chancellor, Sarah Jane Cion, Stewart Copeland, Anthony Cox, 1940's Radio Hour Show-US Tour, Todd Coolman, Harold Danko, Paquito D’Rivera, Larry Elgart, Raul Esparza, John Fedchock, Five By Design, Reynaldo Gonzales, Taku Hirano, Laurence Hobgood, Engelbert Humperdink, Randy Johnston, Sean Jones, Mike Kocour, Alison Krauss, Victor Krauss, Ralph Lalama, Tony Leonardi, Robert Lockwood Jr., Bryan Lynch, Jim McNeely, Hank Marr, Phil Palombi, Ken Peplowski, Chita Rivera, Trichy Sankaran, Michael Spiro, Marvin Stamm, Chip Stephens, The Texas Tenors, Alan Vizzutti, Dan Wall, James Weidman, Michael Weiss, Mike Wofford, Women of the Phantom, Andrea Zonn, and Youngstown State University Faculty Jazz Group.
Notable performances include the 2018 Percussive Arts Society International Convention in Indianapolis, Percussive Arts Society Ohio Chapter Days of Percussion at Capital University, Ohio Northern University, Youngstown State University, and Ohio Music Education Association Conferences in Cleveland, Columbus, and Cincinnati. A central part of our mission involves collaborations with composers in the commissioning, premiering, and critically acclaimed recording of their works. Our 2005 release "Dark Wood" includes six premiere recordings and commissions. Our commission project with New York City-based percussionist/composer John Hollenbeck on his "Ziggurat" for five percussionists and four saxophonists, was premiered at the Whitney Museum of Contemporary Art in New York City, and is available on his 2008 release "Rainbow Jimmies." The Youngstown Percussion Collective's 2012 release "Forms Of Things Unknown" is a concert-length suite by YSU professor of jazz studies, bass, and composition, Dr. Dave Morgan. Our 2012 recording of Ron Coulter's "Cajon Trio" will appear on an upcoming 2019 Coulter CD release.
Trio is based on a two-measure rhythmic phrase that recurs frequently in classical literature. Here, that phrase serves as a rhythmic theme, developed by the cowbells and drums over the steady time kept by the temple block. Composer and percussionist Daniel Levitan studied composition at Bennington College with Henry Brant Vivian Fine, and Marta Ptazynska. Percussion studies include marimba with Tom Hemphill, talba with Phil Ford and Ray Speigel, and congas and Latin percussion with Frankie Malabe. The YSU Percussion Ensemble has performed many of Levitan's works and have recorded his Septet which is available on our commercial release Dark Wood. Notes by Daniel Levitan and Glenn Schaft
Catching Shadows is a marimba duo commissioned by Michael Burritt, professor of percussion at the Eastman School of Music in Rochester, New York. The piece was premiered by Michael and I at the 2013 Rochester Fringe Festival. Michael and I have become good friends and collaborators over the years, and on a recent road trip to a gig, he said, "I'm in charge of the tunes!" Honestly, I didn't know what to expect! He plugged in his iPod – Radiohead, Dave Matthews, then Earth, Wind & Fire. That's when I discovered something cool about Mike: he's as much a rock musician as a classical musician. It just so happens he plays marimba. Sometime, I feel the same way. With Catching Shadows, I thought about our road trip and decided to write a rock tune inspired by Mike's playlist. Ivan Trevino, October 2013
Rancho Jubilee is the name of a Dominican restaurant on my neighborhood corner in Washington Heights, New York City. It's fun decor and lively atmosphere mixed with Latin and Caribbean influences provided a nice setting for composing this trio. Cajon is a Spanish word, meaning "box". The instrument originated in Peru and has become popular in Spanish Flamenco music. Because of the wire strings extending across one of the instrument's interior panels, it produces distinct low, mid, and higher frequency timbres, not unlike the drumset snare drum and bass drum. Notes by Andrew Beall
Unlike much Western concert music, Snare Drum for Camus is not notated, but is transmitted aurally. The composer states: it is a tone color exploration which is built on a simple seven-note sticking pattern (LR LR LRR) repeated throughout. However, the performers are encouraged to think in larger phrases such as 14 or 28 notes. The formal structure consists of a general timbral progression, a symmetrical arch form, utilizing rim sounds, rim shots, skin sounds, rim shots, and concluding on rim sounds. The performers exhibit considerable freedom by choosing various predetermined and improvised phrases. This type of piece can be understood as “slow process music” in which the beauty unfolds gradually from one pattern to the next. Not only do the timbral patterns change, but the listener’s perception of their place in the metric phrase may also change. Notes by Glenn Schaft.
Fandango 13 is a virtuosic dance in mixed meter scored for percussion sextet. It was originally scored as a quartet and served as the third and final movement to a larger piece titled 4 Points West, a commission from the West Point Academy Percussion Quartet in 2005. Fandango 13 is a re-orchestration and expansion of this movement. The pitch material is essentially modal in nature with cadences in major and minor tonalities but never truly establishes a true tonal center. Fandango is a milieu of the many styles, ranging from pop and jazz to minimalism and contemporary music, that comprise my musical experience. Notes by Michael Burritt.