Along Came Benny
Photo: Oliver RossbergAlong Came BennyHonoring Benny Golson with special guestMulgrew MillerSaturday, April 19, 2008, 4 PMSanders TheatreHarvard UniversityNo Photography, Audio, or Video Recording Please
The “Along Came Benny” concert is the culmination of a yearlongcelebration at Harvard of the jazz performer/composer, which focused inthe fall on the literature of Mary Lou Williams and guest appearance ofGeri Allen, and in the spring on Benny Golson.During his two visits to Harvard, Mr. Golson received the official greetingbestowed on Harvard’s special guests and visiting dignitaries from JackieO’Neill, Harvard University Marshal. He was honored at a luncheon withjazz students, scholars, and journalists, participated in a Learning fromPerformers conversation about his career (moderated by Steve Schwartzof WBGH-FM), and rehearsed with the Sunday and Monday Jazz Bands.Mr. Golson visited a class at Cambridge Rindge and Latin School andwith the Nieman Foundation Fellows at Harvard, and met with studentsof Professor Ingrid Monson in the Department of Music.Tonight in Sanders Theatre, the Harvard Jazz Bands celebrates 37 yearsof music-making and 28 years of presenting jazz masters concerts withthe Office for the Arts. Previous Visiting Artists include Eddie Palmieri,Jon Hendricks, Hank Jones, Benny Carter, Illinois Jacquet, Jim Hall,John Lewis, Max Roach, J.J. Johnson, Bill Evans, Carla Bley, and RandyWeston. The goal is to honor artists who have made a significantcontribution to jazz, provide opportunities for Harvard students to workwith masters of the art form, and to increase public awareness of theartist’s music.“Along Came Benny” is made possible by the Richard J. Scheuer, Jr.Fund, the Peter Ivers Memorial Fund, and the Office of the President.PROGRAMAll music is composed and arranged by Benny Golson (b.1929) except where noted.Somebody Loves Me (1924) George Gershwin (1898-1937)Along Came Betty (1957)Monday Jazz BandDrum Thunder Suite (1958)I. Drum ThunderII. Cry a Blue TearIII. Harlem’s DisciplesScott McKinney, trumpet; Jake Cohen, tenor saxophone; MichaelSchachter, piano; Parker Barnes, bass; Chris Krogslund, drumsI Remember Clifford (1956)Mulgrew Miller, Guest Piano SoloistRemarks by Steve Schwartz, WGBH-FMShades of Dameron (1951)Arranged by Dick LiebSunday Jazz BandOut of the Past (1957)Benny Golson, tenor saxophone; Mulgrew Miller, pianoINTERMISSIONKiller Joe (1959)Benny Golson, tenor saxophone; Mulgrew Miller, piano; Scott McKinney,trumpet; Parker Barnes, bass; Chris Krogslund, drumsStablemates (1954)Whisper Not (1957)Blues March (1958)Benny Golson, tenor saxophone; Mulgrew Miller, piano with Monday JazzBand
SPECIAL THANKS TO:SUNDAY JAZZ BANDMark Olson, DirectorBob Ponte of Cambridge Rindge & Latin School, Bob Giles and theNieman Foundation for Journalism, Bernard Steinberg of Harvard Hillel,Steve Schwartz of WGBH-FM, Professor Ingrid Monson, UniversityMarshal Jackie O’Neill.Film Excerpts: [Get credits from Deena]Production Crew for Tonight’s Concert:Producer: Cathleen McCormickProduction Supervisor: Deena AndersonTechnical Director/Stage Manager: Jessica FloresAssistant Stage Managers:Lighting: Port Lighting Production ServicesSound: Bay State SoundVideo Montage and Production: LightSpeed Media, Inc.Video Projection: Harvard Media and Technology ServicesPhotographer: Eric AntoniouSaxophonesJoshua Bolduc ’11, alto* .UndeclaredJames Feeney ’11, alto . Human and Evolutionary BiologyGreg Dyer ’09, tenor StatisticsSung-Jin Choi ’11, tenor .Economics/PsychologyEva Ghirmai ’11, baritone .GovernmentTrumpetsPeter Anderson ’10 (Northeastern University) .Music Historyand AnalysisAdam Gold ’11* .PhysicsJamie Teot .Music EducatorTrombonesJustin Caram ’08* .ChemistryJohn Batter ’11 .EconomicsJason Brodsky ’09 . PhysicsRhythm SectionAlexander Bernsein ’10, piano . MusicKeith Doering ’11, bass. . .NeurobiologyGreg Ciraulo ’09, drums* . .Applied Math/EconomicsStaffGreg Ciraulo ‘09, ManagerJazzBoston brings youJazz WeekApril 26-May 4, 2008www.jazzboston.org
MONDAY JAZZ BANDTom Everett, DirectorSaxophonesNoah Nathan ’09, alto*. .GovernmentMaxwell Nwaru, Jr. ’10, alto. .History and ScienceJake Cohen ’09, tenor . .History and LiteratureAlex Rezzo ’11, tenor/clarinet . . EconomicsGreg Dyer ’09, (tenor on “Along Came Betty”) .StatisticsKristen Pagan ’10, baritone. Germanic Languages and LiteraturesTrumpetsNoel Swanson, ’08*.Physics and PhilosophyKatherine Hill ‘09.Economics and MusicScott McKinney ’09 .NeurobiologyWill Skinner ’09 . . Organismic and Evolutionary BiologyRichard Lee ’11 . .Computer Science and EconomicsJohn Replogle ’09 (Berklee) .Jazz PerformanceTrombonesJason Brodsky ’09 .PhysicsSean Cuddihy ’11 .PsychologyQuinn Carson ’10 (Berklee College) .Jazz PerformanceBrad Oppenheimer ’10 . .History and LiteratureRhythm SectionMichael Schachter ’09, piano. . . MusicJake McNulty ’11, guitar . .East Asian StudiesParker Barnes ’08, bass . East Asian StudiesChristopher Krogslund ’09, drums* GovernmentStaffNoah Nathan ’09, ManagerKatherine Hill ’09, Treasurer*section leadersPROGRAM NOTES BY TOM EVERETTSomebody Loves MeBenny Golson is a multi-talented jazz force: tenor saxophonist, composer,arranger, and leader. During the fifties, Count Basie, Dizzy Gillespie,Lionel Hampton, Quincy Jones, and Benny Goodman were among thebig band leaders who sought out Benny Golson’s instrumental arrangingskills (taking an existing composition and creating a new version,usually for a different instrumentation, ensemble, or setting). Benny’sarrangement of George Gershwin’s early hit song from “George White’sScandals” (1924) was written in the mid-fifties for Goodman’s band. TheHarvard Jazz Band’s performance tonight is the first time Benny hasheard this arrangement in 50 years.Along Came BettyBenny wrote “Along Came Betty” for a young lady from Dayton,Ohio named Betty Pritchet. The shuffling rhythmic feel represents themovement of Betty’s walk and, as Benny says, “the musical affect ofher grace and femininity.” The structure is an unusual eight measuresof an opening theme, eight measures of a second theme, and eightmeasures of a third theme, concluding in a ten-measure phrase. While astudent at Howard University (1947-50), Benny’s theory and compositionprofessor indicated that Benny’s music would “never make it” due to itsunorthodox structure, phrase length, and harmonic progression.Drum Thunder SuiteThe Suite was written as a solo vehicle for Jazz Messenger leader anddrummer Art Blakey. The first theme, Drum Thunder, is developed by aferocious tenor drumming with mallets; the second, Cry a Blue Tear, isshort and subtle with a delightful Latin inflection and serves as a bufferto the soulful, down-home third theme, Harlem’s Disciples. The Suiteconcludes with a recapitulation of the “fast thunder” opening.I Remember CliffordBenny Golson toured with Clifford Brown in 1953 when both weremembers of the Lionel Hampton band. Brown, the new trumpet voice ofthe fifties and co-leader of the classic Clifford Brown-Max Roach Quintet,was tragically killed at age 26 in a 1956 auto accident. “I RememberClifford,” a tribute to Benny’s musical friend and colleague, has become
one of the ballad staples of jazz literature. In 1995 it was choreographedand performed by Twyla Tharp’s dance company. Tonight’s soloperformance will be played by Benny Golson’s pianist-of-choice,Mulgrew Miller.Shades of DameronBenny Golson credits pianist/composer Tad Dameron (1917-1965) asthe main influence on his writing style. “One thing I learned from him,”Benny has said, “was to try to make the music breathe, to give it space.Silence and space can be as meaningful as what we play; it dependson what came before or after. Silence lets a listener meditate on whatwas just heard, and anticipate what’s coming.” Benny and Dameronfirst met in 1951 in Bull Moose Jackson’s Band. Beginning in 1953 theyperformed together in Dameron’s own band. “Shades of Dameron,” oneof Benny’s earliest compositions, already demonstrates the composer’srich harmonic palette. New York arranger Dick Lieb was commissionedto expand Benny’s composition specifically for the Harvard Sunday JazzBand.Out of the PastThis composition was written during a gig at the Colonial Inn in Toronto.Benny explains that the tune represents “something before my time”,like images from a black and white film. “The Golson you hear onthe bandstand,” wrote critic Kevin Whitehead “is the one you hear inconversation his voice has the same mellifluous tone as his tenorsaxophone or harmonized horn chart, the same poetic quality. Hisdelivery is soothing enough to sell swampland to the bunco squad. Histhoughts unfold in long lines that have the same quiet twists, inversions,and delayed resolutions as his arrangements.”Killer JoeAlthough Benny Golson first recorded “Killer Joe” in 1959, it was QuincyJones’ arrangement and recording of 1969 that made the tune a pophit and Benny’s most often played composition. Benny reminisces, “Ijust sat down on the piano one day and started messing around on thetwo-chord progression. I had three or four different melodies and theneliminated the others. As I was doing it, it made me thing of one of thosehep-cats standing on the corner.” On the original recording “Meet theJazztet” Benny spoke this introduction: “We’d like you to meet a friendof ours who goes by the name Killer Joe. Picture a so-called hippy orhip-dash cat, standing on a corner in a neatly pressed double-breastedform-fitting pinstriped suit. A pair of pointed-toed shoes, with bowedwhite stitches around the soles. A black shirt, a long white tie. A blackpencil mustache, and of course, a very wide-brimmed black felt hat. KillerJoe always has a pocket full of loot, but only the kind that jingles, yousee he likes to play the horses. He is most certainly a ladies man. As amatter of fact, he is always goin’ to accept cash contributions from them,for any cause, namely his own. The most important thing about Killer Joethat you have to know is that he is very much against manual labor. KillerJoe.”StablematesThis was first recorded by the Miles Davis quintet in 1955. A uniquestructure with phrases of 14 bars/8 bars/14 bars is made cohesive byBenny’s original harmonic scheme. In Downbeat magazine, Benny relatedto writer Ralph Gleason: “I first get an interesting chord structure laid out.I feel this is very important because the soloists will constantly use it forad libing after the theme. I try to get a melody line that will interweavepleasantly with the chord structure.” Stablemates was composed forBoston’s legendary trumpeter/bandleader/educator Herb Pomeroy. “Iwrote this back in 1955 for Herb. I played a lot in Boston and we becamegood friends. Herb’s band was playing the Stables, a CommonwealthAvenue club that was in the back and downstairs of a restaurant. We hada good band—we all got along—so I called the tune stable mates”.Whisper NotThe laid back, minor keyed “Whisper Not” was recorded in 1957 by theDizzy Gillespie Big Band with Benny on tenor sax. In the liner notes toArt Farmer’s 1958 “Modern Art” recording, Nat Hentoff states, “Despitethe constant discussion about jazz writing during the past few years,there are still only a few writers who’ve been able to create works thatlast beyond their recording dates—songs that other musicians continueto use. Golson is one of these few, as evidenced by his ‘Whisper Not,’‘I Remember Clifford,’ and ‘Stablemates’.” Of Benny’s tenor saxophoneprowess, Barbara Gardner commented in a Downbeat interview, “Theboldness and intrepidity with which he begins his attack and manipulateshis horn is a direct contrast with the gentleness and gravity of his charts.”
Blues MarchFrom 1958 to 1959, Benny served as Musical Director for the classic ArtBlakey and the Messengers. Not only did he write and arrange much ofthe music, but also he chose the sideman who made up the band. Exceptfor leader Blakey, all the musicians were Golson’s fellow Philadelphians(Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritton bass). Blakey’s request for a catchy drum feature ended up being“Blues March”—a cross between a military band and funky New Orleansstyle march. The driving staccato beat is overlaid with a blues melodyresulting in a soulful and joyous mood. Benny has shared, “Music mustas we speak, with pauses, and different expressions and inflections. Wecan be as conversational with 12 musical tones as with the 44 phoneticsounds in the English language.”GUEST ARTISTSBenny GolsonBenny Golson is one of the premiere composers and performers in jazz.By the late fifties he produced a substantial compositional oeuvre thatincorporated the lyricism of the traditional American popular song witha rich jazz harmonic content. Becauseof their intriguing chord progressions,these works proved to be challenging yetideal vehicles for improvisation. During acareer spanning over fifty years, Golsonhas made scores of recordings andcomposed and arranged for such artistsas Count Basie, John Coltrane, MilesDavis, Ella Fitzgerald, and Dizzy Gillespie.A prolific and renowned composer, hehas written such widely-known standardsfor the jazz repertoire as “Killer Joe,”“Along Came Betty,” “I RememberClifford,” “Stablemates,” “Whisper Not,”“Blues March,” “Five Spot After Dark,” and “Are you Real?” Golson’swriting career also includes scores for hit TV series and films, including“M*A*S*H”; the theme of Bill Cosby’s last show; as well as “Mannix,”“Mission Impossible,” “Mod Squad,” “Room 222,” the AcademyAwards, and specials for the ABC, CBS, NBC and BBC networks. Hehas also written national radio and television spots for major Americanadvertising agencies.Born in Philadelphia in 1929, Golson played in the bands of BennyGoodman, Dizzy Gillespie, Lionel Hampton, and Earl Bostic. He alsoserved as Music Director with Art Blakey and the Jazz Messengersand co-led Jazztet with flugelhornist Art Farmer; both ensembles weremilestones of the late Hard Bop period. Golson’s honors are many; hewas a Guggenheim Fellow in 1995 and received the National Endowmentfor the Arts Jazz Masters Award in 1996. He has received honorarydoctorates from Berklee College of Music and William Patterson College.In 1999 he was nominated for a Grammy Award for his performance of“Body and Soul” on his CD “Tenor Legacy.” He has recorded over 30albums and 300 compositions.
An early job was as pianist for the Mercer Ellington Orchestra. CedarWalton introduced Miller to Betty Carter, and he moved to New York,spending the next eight months with the great vocalist/educator. Millerthen performed with Woody Shaw, Johnny Griffin, Art Blakey, and forseven years with Tony Williams. In the late eighties, Miller was a frequentcollaborator with Joe Lovano. In the nineties he focused on his own trio,while performing or recording with such artists as Diane Reeves, ReneMarie, Steve Turre, Kenny Garrett, Joe Lovano, and Gary Burton. Overthe years Miller has worked on nearly 400 recordings and moves easilyfrom jazz standards to Brazilian to bebop to his own compositions. Hisrecent focus has been on the quintet Wingspan and his current trio withbassist Derrick Hodge and drummer Karriem Riggins.“Whether playing, composing, arranging, conducting, or bandleading—in the studio or on the bandstand—Mr. Golson is never less thanoutstandingly excellent. He is a legend. I admire him tremendously.”Steve Schwartz (Might add? 4/4/08)CONDUCTORSTom EverettTom Everett, Director of Bands at Harvard and Jazz Advisor to the Officefor the Arts, founded jazz programsat Harvard in 1971. He taughtthe first jazz course for academiccredit at Harvard in 1972. He hasalso taught at the New EnglandConservatory, Brown University, theInternational Trombone Workshop,Indiana University Summer School,and the Franz Liszt Academy(Budapest). He is the recipientof the 2008 Luise VosgerchianTeaching Award presented to a nationally-recognized educator. As a basstrombonist, he performed with the Bolshoi Ballet, Boston Ballet, BostonPops, and Boston Opera Orchestras, the Cantata Singers, and the jazzbands of Clark Terry, Phil Wilson, Dizzy Gillespie, Tommy and JimmyDorsey, and Ray Charles. Everett conducted on J.J. Johnson’s 1996 CD,“The Brass Orchestra” (Verve), which was nominated for three GrammyAwards. He has served as assistant to jazz composers/historians AndréHodeir and John Lewis and has been published in The Instrumentalist,Black Perspectives in Music, Cadence, Journal of Jazz Studies, The MusicEducators National Journal, Brass Bulletin, The College Band Directors’National Association Journal, The Journal of the International TromboneAssociation and Massachusetts Music News.Photo: Mark OlsonPhoto: Jimmy KatzMulgrew Miller“I don’t only think of the piano as a piano,” said Mulgrew Miller, “I thinkof it as an orchestra, other times as a voice, and yet at other times ahorn.” Born in 1955 inGreenwood, Mississippi,Miller played country,gospel, R&B for dancebands, and the blues,until age 15 when sawthe Oscar Peterson Trioperform on television.Pivotal to Miller’s transitionto jazz was his studies atMemphis State Universitywith Donald Brown andJames Williams, pianistswith whom he would later work in the Contemporary Piano Ensemble(dedicated to the music of Memphis’ native son Phineas Newborn).A charter member of the International Association of Jazz Educators,Everett is a founder and first president of the International TromboneAssociation and past president of the New England College BandAssociation. He has been a panelist for the New England Foundation forthe Arts and Massachusetts Cultural Council and coordinates the HarvardClub of Boston’s Annual Jazz Combo Competition. He holds degrees fromIthaca College and studied privately at the Eastman School of Music.
Photo: Courtesy of M. OlsonMark OlsonMark Olson, Assistant Director of Bands at Harvard, conducts the HarvardWind Ensemble and Sunday Jazz Band and serves as advisor to theHarvard University Band. Olson was previously Visiting Professor andInterim Director of Bands at GracelandUniversity in Iowa. He was a musiceducator for nine years in Minnesotabefore beginning graduate studies atthe University of Minnesota. Olson hasbeen a guest conductor and clinician forbands in Massachusetts, Connecticut,Minnesota, North Dakota, and Iowa.He served as Interim Conductor of theCambridge Symphony in 2005-2006 andguest conductor of the Metropolitan WindSymphony in 2006-2007.Olson received his BM degree from Concordia College in Moorhead, MNand an MA degree in Music Education from the University of Minnesota.His conducting teachers have included Craig Kirchhoff and J. RobertHanson.He is an active trumpet performer who is a member of the MetropolitanWind Symphony and former member of the Charles River WindEnsemble, Mankato Symphony Orchestra, Austin Symphony Orchestra,and Winona Brass Band. He has studied trumpet with David Baldwin,Gary Bordner, and J. Robert Hanson.Office For The Arts At HarvardMain Office, 74 Mt. Auburn StreetDirectorDirector of ProgramsProgram Assistant, Learning From PerformersFinancial AssociateManaging Editor, Arts SpectrumAdvisor on JazzProgram Manager, Learning From PerformersAdministrative CoordinatorAssistant to the DirectorProject Manager, ARTS FIRST and Public ArtProgram AssociateInterim Information ResourceAssociate Project Manager, ARTS FIRSTJack MeganCathleen McCormickDeena AndersonSally BondGary DuehrTom EverettThomas LeeScott LozierAimee RicciardoneTeil SilversteinStephanie TroisiEmily VidesMatt WeinbergMemorial Hall/Lowell Hall ComplexDirectorAssistant DirectorProgram ManagerProduction ManagerProduction AssociateProduction AssociateProgram AssistantEric C. EngelRaymond C. TraiettiRuth A. PolleysTina BowenIlya LuvishJonathan SalzAdam KassimHarvard Box OfficeManagerAssociate Manager &Manager of Student Ticketing ServicesSenior Box Office AssociateBox Office AssociateBox Office AssociateBox Office AssistantBox Office AssistantBox Office AssistantCeramics ProgramDirectorCoordinatorProgram AssistantTina L. SmithJason GovostesBob BartoschAmy L. LeBrunMichael Van DevereRachel CoonHeather HughesVictor YambaoNancy SelvageShawn PanepintoJi-Eun Kim
OFA-Affiliated Music ConductorsHolden Chamber EnsemblesAssistant Conductor, Collegium MusicumConductor, Baroque Chamber OrchestraAdministrator, Baroque Chamber OrchestraDirector, Harvard University BandsConductor, Harvard PopsConductor, Mozart Society OrchestraAssociate Conductor, Holden Choirs,Harvard-Radcliffe ChorusDirector, Holden ChoirsAssistant Conductor, Harvard Glee ClubAssistant Director, Harvard University BandsConductor, Kuumba SingersChoral AdministratorAssistant Conductor, Radcliffe Choral SocietyDirector, Harvard-Radcliffe OrchestraAgassiz Theatre and New College TheatreTechnical Director for College TheatreAssistant Technical DirectorTechnical Supervisor, New College TheatreProduction Coordinator, New College TheatreDance ProgramDirectorAdministratorArtistic AssociateProduction SupervisorProgram AssistantArtistic Director Emerita, Radcliffe CollegeMichael BarrettJeff GrossmanPhoebe CarraiSarah DarlingTom EverettAllen FeinsteinEd JonesKevin LeongJameson MarvinMichael McGaghieMark OlsonSheldon Reid’97Sarah WhittenKatie WoolfJames YannatosThomas MorganElizabeth DeanAndrew GitchelDana KnoxElizabeth BergmannSusan LarsonBrenda DivelblissJessica FloresJoshua LeggClaire MallardiSanders Theatre in Memorial Hall is managed by the Office for the Arts atHarvard. (Emily Please update w/ online Mem Hall info 3/24/08)All inquiries should be addressed to:Memorial Hall/Lowell Hall Complex45 Quincy Street, Room 027Cambridge, MA 02138Phone: 617.496.4595, Fax: 617.495.2420CALENDAR OF EVENTSAvailable at the Harvard Box Office web site: www.boxoffice.harvard.edu.SMOKINGThere is no smoking allowed in Memorial Hall.RESTROOMS & PUBLIC TELEPHONESLocated on the Lower LevelPARKINGFree parking for Sanders Theatre events is available at the Broadway Garage,corner of Broadway and Felton Street, from one hour pre-performance to onehour post-performance. For some student events, patrons will be asked to park at38 Oxford Street.LOST AND FOUNDCall 617.496.4595 or visit the Administrative Offices, Memorial Hall room 027.Memorial Hall and Harvard University are not responsible for lost or stolenproperty.LATECOMERSLatecomers will be seated at the discretion of the management.ELECTRONIC DEVICESPlease silence all cell phones, pagers and other electronic devices.PHOTOGRAPHY AND RECORDINGUse of cameras, cell phones, and recording equipment is prohibited. Film and/ordevices will be confiscated.EMERGENCY EXITSPlease take a moment to identify the nearest emergency exit. In addition to thesix regular exits, there are emergency exits located at the rear of the mezzanineand balcony levels.ACCESS FOR PATRONS WITH DISABILITIESWheelchair accessible seating is available through the Harvard Box Office bytelephone at 617.496.2222, TTY 617.495.1642, or in person. Sanders Theatreis equipped with Assistive Listening Devices, which are available at the BoxOffice, one-half hour before performance time. For information about parkingfor disabled patrons, call Marie Trottier, University Disability Coordinator, at617.495.1859, TTY 617.495.4801, Monday through Friday 9 am to 5 pm. Pleasecall at least two business days in advance.THE HARVARD BOX OFFICETicketing Sanders Theatre events and more.Phone: 617.496.2222; TTY: 617.495.1642
www.boxoffice.harvard.eduAdvance Sales: Holyoke Center Arcade, Harvard SquareOpen Tuesday-Sunday 12 noon to 6 pm. Closed Mondays, some holidays andlimited summer hours.Pre-Performance Sales: Sanders Theatre in Memorial HallOpen on performance days only, at 12 noon for matinees and 5 pm for eveningperformances. Open until one-half hour after curtain.UPCOMING OFFICE FOR THE ARTS (OFA) EVENTSEvents are free and open to the public unless otherwise noted. For moreinformation: 617.495.8676 or www.fas.harvard.edu/ofa.Monday, April 21, 3 pm: A conversation with director/scriptwriter RobertBenton (“Bonnie & Clyde”, “Places in the Heart”) and Janet Maslin,journalist and film critic. Presented by OFA Learning From Performersand Conversations at Kirkland House. Kirkland House Junior CommonRoom, 75 Dunster St. Information: 617.495.8676, www.fas.harvard.edu/ofaMay 1-4: ARTS FIRST 2008, Harvard celebrates student art-makingwith performances, exhibitions, film and video screenings and publicart installations at scores of venues across campus. Information:617.495.8699, www.fas.harvard.edu/artsTuesday, May 6, 5 pm: Lecture/Demonstration on Paul Taylor techniqueand repertory featuring Visiting Lecturer Ruth Andrien and students fromDramatic Arts 34, presented by OFA Dance Program. Harvard DanceCenter, 60 Garden St. Information: 617.495.8683, www.fas.harvard.edu/danceWednesday, May 7, 7 pm: New Dances by OFA Dance Director ElizabethBergmann and 12 student choreographers created in Dramatic Arts 14a,“Group Choreography,” presented by OFA Dance Program. HarvardDance Center, 60 Garden St. Information: 617.495.8683, www.fas.harvard.edu/danceMay 15-18: Spring Show and Sale, OFA Ceramics Program. Featuringthe best and most varied selection of contemporary ceramics in thenortheast, the Show and Sale showcases work by more than 50 pottersand sculptors. Free ceramic wine cups at opening while supplies last.Thursday, opening reception, 3-8 pm; Friday-Sunday, 10 am-7 pm. 219Western Ave., Allston. Information: 617.495.8680, www.fas.harvard.edu/ceramics
Benny Golson is a multi-talented jazz force: tenor saxophonist, composer, arranger, and leader. During the fifties, Count Basie, Dizzy Gillespie, Lionel Hampton, Quincy Jones, and Benny Goodman were among the big band leaders who sought out Benny Golson’s instrumental arranging skills (t
Oral History - Benny and Alan Eos July 24, 2002 Okay, today is July 24th, 2002, and this is Bob Hult and I’m with Benny and Alan Eos and we’re at the Eos Mill, about 10 miles or so south of Bailey, Colorado.
Benny Hinn, ni par le journal, ni par les victimes. Les archives prouvent que le couple Hinn a été conduit à l'hôpital (7). Hinn y est resté deux jours, et sa femme trois(8). Selon le rapport du shérif, le corps de Benny Hinn portait de nombreuses contusions, lacérations et File Size: 291KBPage Count: 18
Books by Benny Hinn from Thomas Nelson Publishers The Anointing The Biblical Road to Blessing Good Morning, Holy Spirit Welcome, Holy Spirit. Dedicated to my son, Joshua. I pray that he will carry God's message of salvation and the power of the Holy Spirit to the ends of the earth.
A UNÇÃO BENNY HINN Editora Bompastor, 2000 ISBN: 8586096458 Digitalizado por zica www.semeadoresdapalavra.net Nossos e-books são disponibilizados gratuitamente,
In the last decade, Hinn has prom-ised to reform as often as a politician in an election year. A video titled The Many Faces of Benny Hinn, helps spell out the dilemma. Similarly, the title of PFO’s volume on Hinn captures him as a man in a world of deep confu-sion. There is no reason to
THE PODCAST with BENNY HINN In the video of Benny Hinn that I posted earlier he referred to a 'podcast' that he had done with Steven Strang. I will shortly give a link to an article that includes a link to that 'podcast'. My initial thought is this, whilst 'prosperity' is an issue that he has erroneously
Christ’s Blood – Relic or Reality? – Benny Hinn’s New Book Benny Hinn Vol 14, No 2 The Clone Rangers – Raising Cain over Eve and the Raelians Raelian Movement Vol 23, No 2 Close EncountersWith an Audacio
analisis akuntansi persediaan barang dagang berdasarkan psak no 14 (studi kasus pada pt enseval putera megatrading tbk) kementerian riset teknologi dan pendidikan tinggi politeknik negeri manado – jurusan akuntansi program studi sarjana terapan akuntansi keuangan tahun 2015 oleh: novita sari ransun nim: 11042014
