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Jeff Taylor, Director, (Ph.D., Michigan)
has been a member of the Conservatory faculty since 1993. He specializes in
jazz and other areas of music in the United States, though he also
teaches general courses in Western music history and musicology and has
regularly led sections of the Conservatory's introductory Core course (he is
also a co-author of that course's textbook). He is also on the faculty of the
CUNY Graduate Center,
where he teaches doctoral seminars in jazz history and historiography. His
scholarly work has focused primarily on pre-1940s jazz, though his interests
include many aspects of current trends in jazz and popular music scholarship
and performance, particularly those related to race, gender, class, sexuality
and spirituality. He is on the editorial boards of Black Music Research
Journal and The Journal of the Society for American Music. His writing has
appeared in Musical Quarterly, Black Music Research Journal, American Music,
the American Music Review, and other publications. As a performer Prof.
Taylor has focused primarily on the work of early jazz pianists such as Jelly
Roll Morton, Fats Waller, and James P. Johnson, and in 1998 appeared with
fellow pianist Artis Wodehouse at several events related to ISAM's The
Gershwins at 100 festival. He is currently at work on a biography of jazz
pianist Earl "Fatha" Hines, having published a critical edition of
transcriptions of Hines's solos last year.
Email Professor Taylor: jtaylor@brooklyn.cuny.edu
Ray Allen
is Associate Professor of Music and the Director of
the American Studies program at Brooklyn
College. Trained in
folklore and ethnomusicology, his research has centered on New York City's diverse ethnic music
cultures. He is author of Singing in the Spirit: African-American Sacred
Quartets in New York City (University of Pennsylvania
Press) and co-editor of Island Sounds in the Global City:
Caribbean Popular Music in New York City
(ISAM/University of Illinois
Press). His current research focuses on West Indian Carnival music in Brooklyn.
Professor Allen has been affiliated with
ISAM since 1993, and served as Acting Director from 1997 to 1999. He has
co-produced a number of the Institute's festivals, including the centenary
celebrations in honor of Henry Cowell (1997) and George Gershwin (1998). As a
Hitchcock Institute Associate he currently co-edits the American Music
Review with Jeffrey Taylor.
Professor Allen teaches survey courses in
the music of the United States
and New York City.
In addition he directs Brooklyn
College's American
Studies program, an interdisciplinary program that specializes in American
music and cultural studies.
Email Professor Allen: rayallen@brooklyn.cuny.edu
Stephanie Jensen-Moulton recently
defended her dissertation, "'Sparring with Fate': Miriam Gideon's 1958
Opera Fortunato" at the CUNY
Graduate Center,
and graduated with a Ph.D. in Musicology and a Women's Studies Certificate in
February 2008. Her work has been published in Critical Minded: New Approaches
to Hip Hop Studies, edited by Ellie M. Hisama and Evan Rapport, and most
recently, in Sounding Off: Theorizing Music and Disability, edited by Neil
Lerner and Joseph N. Straus. Stephanie's scholarly work focuses on three
operas written by women in 1950s New
York City, including works by Miriam Gideon, Julia
Perry, and Louise Talma. As a performer, Stephanie specializes in
contemporary repertory, and has been hailed by The New York Times as a
soprano who sings "brilliantly and confidently." Her research
interests include American music, women in music, and disability studies.
A specialist in American music after
1900, Jensen-Moulton places particular importance in her work on music as a
product of culture. Her current research focuses on music by women composers,
feminist ways of engaging musical texts, popular music studies, and the body
as a musical technology.
Email Professor Moulton: sjensenmoulton@brooklyn.cuny.edu
Salim Washington, Assistant Professor of Music and
Hitchcock Institute Senior Associate, received his Ph.D. from Harvard University with a dissertation on John
Coltrane. A Harlem-based tenor saxophonist, he also plays the flute and the
oboe, and is an avid
composer/arranger. While
on a commission for works celebrating the life and music Dexter Gordon he
established a new group, the Harlem Arts Ensemble, which continues the legacy
of his Boston-based band, the Roxbury Blues Aesthetic. In addition to his own
groups, Salim plays regularly with a number of ensembles including the Donald
Smith Quintet, Antonio Dangerfield’s Ensemble Uniqua, Frank
Lacy’s Vibe Tribe, and the Frank Lacy Octet, James Jabbo Ware’s
Me, We, and Them Orchestra, the Brooklyn Repertory Ensemble, Ahmed
Abdullah’s Diaspora, and the Carl Grubbs group. He has travelled extensively, playing music festivals throughout
the US and Canada, Latin America, and Europe. He has also led music workshops for the Northern Ireland Arts
Council in Belfast, the Bill Evans
conservatory in Paris, Harvard
University, the Vermont Jazz
Center, Plymouth State
College, the Guelph Music Festival, and elsewhere. He is a member of the Jazz
Study Group at Columbia
University and has
participated on various committees and panels in service of jazz, including
those convened by the Ford Foundation, the Boston Pheonix, the New
England Foundation for the Arts. He is co-author with Farah Jasmine Griffin
of Clawing at the Limits of Cool: the collaboration between Miles Davis and
John Coltrane, 1955-1961, forthcoming from St.
Martin’s Press.
His recordings include:
-Carl
Grubbs Quartet, featuring Ronnie Burrage and Steve Neil, forthcoming (prod.
Bob Rusch)
-Traveling
the Spaceways. Ahmed
Abdullah’s Dispersions of the Spirit of Ra, Planet Arts, 100324,
2005.
-Live
at the Archipel, Katy
Roberts Septet, 2004.
-The
Vibe, Katy Roberts Septet, 2002.
-The
Bill Barron Project,
Bill Lowe/Carl Atkins Big Band, Green Line Records, 1999
-Live at Detroit Montreaux Jazz
Festival, Henry Cook
Band, featuring Bobby Ward, Accurate
Records, AC-5036, 1999.
-The
RAW Field Recordings, Paradigm
Shift, Tautology 010, 1999.
-Love
in Exile, Salim Washington and RBA,
featuring Joe Bonner, on Accurate Records 1997.
-Blue
Again, Billy Skinner DJQ,
on Kitty Kat Records, 1992.
-Kosen
Rufu, Billy Skinner DJQ, Accurate Records, 1990. (Best Jazz CD,
Pepsi Music Awards,
one of the Ten Best CD's of the decade, Los Angeles
Times).
Email Professor Washington at wsalimwashington@aol.com.
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