PE - 10/28/09 - Butler North
Tetsuya Takeno Kanagawa-Ken, Japan
David Blon North Huntington, PA
Kevin Rabold, Pittsburgh, PA
Joshua Colson, Transfer, PA
Dan Danch, New Wilmington, PA
Matthew Hayes, Coshocton, OH
Robert Young, Austintown, OH
Eric Zalenski, Bloomingdale, OH
Dustin May, Westerville, OH
Gino West, Poland OH
Gary White, Warren, OH
Nick Baran Austintown, OH
Keith Born, Bethel Park, PA
Dylan Kollat North Jackson, OH
Moriah Placer Warren, OH
Adrian Watson Cleveland, 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.
The title is derived from the 19th century popular song The Girl in the Gilded Cage and the 20th century percussion ensemble quartet Third Construction by John Cage. There are numerous influences from Cage’s notable piece, including an early quote of the opening theme, here divided between the four performers and played on tom-toms. The “cage” theme is further exhibited in the way the performers create a constantly evolving visual cage with their sticks.
J.B. Smith received the B.M. in music education from Baylor University where he studied with Dr. Larry Vanlandingham, the M.M. in percussion performance from the University of Illinois with Tom Siwe, and the D.M.A. in percussion from the University of North Texas with Robert Schietroma. Smith is currently Director of Percussion Studies at Arizona State University. Conga Mix and Slap Shift are based on Afro-Cuban folkloric drumming rhythms.
This large ensemble work is scored for marimbas, xylophone, vibraphone , timpani, drumset, and various Latin instruments such as bongos, congas, cowbells, claves, shekere´, and cua´. Bomba is one of the best-known folkloric music/dance styles of Puerto Rico and is believed to have originated in the Congo, West Africa.
Rolando Morales-Matos is currently one of the solo percussionists and assistant conductor with Disney’s production of The Lion King, on Broadway. He holds adjunct professor positions at Duquesne University and Curtis Institute of Music and presents clinics and master classes at many universities. Rolando performs and records regularly in New York with various Latin jazz groups, is the percussionist in William Cepeda's Afro Rican Jazz, a member of the Philadelphia Orchestra Percussion Group, Extra-Percussionist with The Pittsburgh Symphony Orchestra, The Philadelphia Orchestra, and The Metropolitan Opera Orchestra.
Lynn Glassock is a native of Dallas, Texas and received his Bachelor of Music and Master of Music in Percussion Performance from the University of North Texas. His teachers have included Paul Guerrero, Ron Fink, Kalman Cherry, Ed Soph and Leigh Howard Stevens. Mr. Glassock teaches Percussion, Introduction to Music Technology and conducts the UNC Percussion Ensemble. Professional experiences include performances with the Dallas Symphony Orchestra, Fort Worth Symphony, Fresno Philharmonic, musical shows and commercial bands. He has written articles for the Instrumentalist and music reviews for Percussive Notes. He is currently a member of the Composition Committee, the Contest and Auditions Procedures Committee, and the Board of Directors for the Percussive Arts Society.
I. Horse Thief
II. Noble Prairie
Robert Edward Kreutz was an American composer of Roman Catholic liturgical worship music. He studied music at the American Conservatory of Music in Chicago, Illinois and at the University of California-Los Angeles. He was best known for the Eucharistic hymn: Gift of Finest Wheat which was first performed at the International Eucharistic Congress in 1976, in Philadelphia, Pennsylvania.
Thierry De Mey is a Belgian film director and composer. The incorporation of movement and rebound are the common thread at the core of his work: "the rebuttal of the idea of rhythm as a simple series of durations in a time frame, but rather as a generative system for impulses, falls and new developments” constitutes the preliminary overture for his musical and cinematic endeavors.
Musique de Table is for three percussionists, each using a small wooden table. The various sounds are produced by different ways of striking the table with the hands and are amplified by means of contact microphones. The piece is precisely notated with a combination of traditional and graphic symbols.
Tribeca Sunflower incorporates rhythmic ideas from the gahu music of the Ewe people of Ghana in West Africa and from traditional North Indian classical music. The marimba mallets are wrapped in dowel rods to create a rattle effect, suggesting the African amadinda, a log xylophone.
Log Cabin Blues - featuring Bob Young
Spanish Waltz - featuring Dan Danch
Xylophonia (composed by Joe Green) - featuring Kevin Rabold
During the last twenty years of the 19th century, a revolutionary method of playing popular music emerged in the United States - a style of creative, syncopated transformation and embellishment of a melody. Essentially an Afro-American phenomenon, the style was crystallized by Black pianists into a genuinely classical composition called the “Rag”, a word probably derived from vernacular descriptions of the highly syncopated melodic lines as “ragged”. These melodies were set against a steady, march-like bass pattern played by the pianist’s left hand.
After 1915 the rag began to be transformed, and its infectious syncopation was applied to many types of popular and some classical music. Stravinsky’s “Ragtime for Eleven Instruments” and Debussy’s “Golliwog’s Cakewalk” are examples. The term “ragtime” came to refer to all music that used the characteristic four-against-three syncopation of the earlier piano rags. By 1920 a type of ragtime became popular along with a new dance called the fox-trot. Known as “novelty ragtime”, this music was highly technical, programmatic, and speedier than previous rag music, and it was a perfect vehicle for the xylophone which had recently been engineered to a high standard of quality by manufacturers in the Chicago area.
During the 1920’s the xylophone as a solo instrument reached a peak in popularity. Xylophone soloists appeared with piano accompaniment, in dance orchestras and concert bands, and were heard regularly on radio broadcasts and phonograph records. George Hamilton Green, Sammy Herman, and Harry Breuer, the best-known xylophonists of this era, won critical acclaim as well as tremendous public esteem. All were great artists, but perhaps the most important was George Green, who, until his retirement in 1940, reigned supreme among xylophonists. He was a great technical innovator, as well as a prolific composer, and hence played a major role in the creation of an extensive solo literature for the xylophone. This body of music came to include transcriptions of standard overtures, Hungarian rhapsodies, violin concertos and concert piano selections, as well as original compositions for the xylophone in the form of medleys, rags, and novelty dance music. Notes by Bob Becker
Bob Becker, who arranged this music, is a long-standing member of the renowned Canadian percussion group Nexus whom have championed a revival of these historic tunes. These unique arrangements are scored for xylophone solo, four marimbas, and a potpourri of percussive accents.
Special thanks to Avedis Zildijian, Remo, ProMark. Dynasty, and Black Swamp Percussion for their product and
artist support of Glenn Schaft and the YSU Percussion Studio.