Mists: Charles Ives for Jazz Orchestra

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Mists: The Music of Charles Ives for Jazz Orchestra
Mists album cover.jpg
Studio album by Various artists
Jack Cooper
Released 22 August 2014
Recorded 4 and 6 of April 2014
Studio
Genre
Length 55:59
Label Planet Arts
Producer
Jack Cooper chronology
The Chamber Wind Music of Jack Cooper
(2010)The Chamber Wind Music of Jack Cooper2010
Mists
(2014)
Time Within Itself
(2015)Time Within Itself2015
Planet Arts Recordings 101420

Mists: Charles Ives for Jazz Orchestra is an internationally acclaimed jazz album produced by Planet Arts Recordings and released in August 2014.[1] The recording is centered on Charles Ives' art song arranged for 17 piece jazz orchestra by composer Jack Cooper; this is a Third stream approach to jazz made more widely know by earlier band leaders and composers such as Paul Whiteman, Gunther Schuller, George Russell and Don Sebesky. The album is archived in the both the United States Library of Congress and the Deutsche Nationalbibliothek as a historically significant sound recording.[2][3]

Noted Ives scholar Gayle Magee writes,"These recordings preserve the essence of (Ives) classics...while offering a fresh, modern reinterpretation for Ives fans and jazz enthusiasts alike."[4] The album was named as one of the Top 10 Jazz CDs for 2014 in the Chicago Tribune by music critic Howard Reich and also peaked at #8 in radio airplay in the Roots Music Report for top albums in Canada for October 26, 2014.[5] Reich comments about the CD, "Can the gnarly, rhythmically complex, densely scored works of Ives be transformed (sic)? ...arranger Cooper accomplishes it brilliantly, applying a jazz aesthetic to Ives classics..."[5]

Background[edit]

Charles Ives in 1913.

Hearing Ives for the first time[edit]

Jack Cooper grew up in a musical household in the greater Los Angeles area. His mother (Georgie Cooper) was a professional keyboardist, and numerous musicians visited their house to rehearse and give recitals; his Godfather (Robert Voris) was one of those.[6][7][8] Voris was one of the first vocal soloists (baritone) with the William Hall Master Chorale in the late 1950s and at one point recorded a LP of classical art song with his mother in October 1963, just 5 months after Cooper was born.[9][10] Many works were recorded for the LP to include Charles Ives' songs. The Ives titles recorded on the master tapes were The Greatest Man, Serenity, Evening and Charlie Rutlage. This sound became normal for Cooper to hear at home. He heard Ives' songs performed for about 10 years until both his mother and Voris were too busy to perform regular recitals together any longer.

Ives music played in school[edit]

During the 1980s Cooper heard and played a great deal of Charles Ives works in music school such as the Country Band March, The Unanswered Question, The Camp-Meeting, and his other symphonies. He went on to work professionally as a full-time jazz musician for about 6 years and then entered the University of Texas at Austin to do a doctorate in music composition.[11] By that time he had a great deal of experience as a professional staff writer doing jazz orchestra works. Along with Ives, a great love of his is writing for large jazz groups such as what Fletcher Henderson, Ellington, Basie, Gil Evans, etc. had composed. At one point while living in New York City he studied with the jazz composer Manny Albam; Albam was very encouraging later in the pursuit of the Mists/Ives jazz orchestra project.

Ives songs made into dissertation[edit]

114 Songs of Charles Ives was the main song book used for the Mists project, over 160 songs were on a master list.

Cooper first attended classes at the UT Austin in late 1995; one of those was with musicologist Elliott Antokoletz.[12] In Antokoletz' book Twentieth Century Music (Prentice Hall), Chapter 7 is devoted to music in the United States and specifically Charles Ives is analyzed for 10 pages.[13] Elliott Antokoletz uses Ives' The Cage as a key departure point. The Cage ended up becoming the first of the Ives works Cooper arranged for jazz orchestra; an experiment on how to use more disparate 'Americana' material to arrange and orchestrate rather than typical 'tin pan alley' songs. Cooper's arrangements preserve Ives' work while undergoing a transformation to a jazz aesthetic, "...(the) unexpected places we hear in jazz, and wanna' hear in jazz."[14]

In 1997 Cooper undertook a dissertation project to find music suitable for jazz orchestra that would push the boundaries of how to orchestrate in that idiom.[8][15] This was a Third Stream approach of melding a prominent American classical composer with the idiom of full 17 piece jazz orchestra. Charles Ives music was decided upon due to the composer's distinctly American style and approach to melodically and harmonically challenging material. The fundamental idea was to use Ives’ “vocal lieder” written for piano and voice much the way arrangers have used songs of Cole Porter, George Gershwin, or Duke Ellington as the inspiration for large jazz orchestra source material (his most basic ideas). Over 160 songs of Ives songs were considered and a master list was derived from numerous volumes of song collections, the Complete Songs of Charles Ives (in four volumes) were used as the primary audio reference.[16] The lengthy process of making master lists and doing study of many Ives’ songs was vital to eventually completing the Mists album. The first three works used in that dissertation were The Cage, The Last Reader and Tom Sails Away; the work is listed as a noted text in both "Charles Ives: A Guide to Research" and "A Charles Ives omnibus".[15][17][18][19] Cooper's orchestrations of The Cage and Tom Sails Away were also recorded on CDs by university jazz ensembles. These would later become studio demo recordings for record labels. Both the Mists recording and treatise are housed in the University of Texas Libraries for artists and researchers.[20]

In mid-January 1998 a visit was made by Cooper to the Gilmore Music Library at Yale University in New Haven, CT in order to study the archives of Charles Ives’ music; the original manuscripts with Ives hand written notes and corrections.[21] At that time Cooper also met with noted Ives scholar James Sinclair. A great deal of important information and analysis was obtained that would help complete both the dissertation and writing of the rest of the five works for the Mists album.[15]

Charles Ives jazz orchestra recording[edit]

In 2000 the idea came about to do an entire CD of Charles Ives works for jazz orchestra to be completed with the Summit Jazz Orchestra in Munich, Germany.[22] Due to lack of funding the project fell through but the whole album of eight of Ives songs arranged for a jazz orchestra had been completed by Cooper. Although there were setbacks, a meeting with Bob Brookmeyer during this time was very encouraging with the legendary composer giving his approval of Cooper's scores.[23] Executive producer Thomas Bellino with Planet Arts Recordings become very interested in the recording project and approached Cooper for the permission to produce the CD late in 2002. An initial grant from the Aaron Copland Fund For Recorded Music was obtained for $10,000 but numerous difficulties with copyrights and production costs had to be worked out which prolonged the recording timeline.[24] Finally in November 2013, Jack Cooper met with longtime friend and musical collaborator Luis Bonilla; the project moved ahead with Bonilla as producer, contractor and musician.

Andy McKee, Douglas Purviance, Luis Bonilla, and Michael Marciano listening to playback at Systems II Recording Studio in Brooklyn, N.Y. on April 4th, 2014 for Mists: Charles Ives for Jazz Orchestra CD.

For the recording Bonilla drew players from three high profile jazz orchestras in New York City: Vanguard Jazz Orchestra, The Afro Latin Jazz Orchestra and the Mingus Dynasty Big Band. Bonilla was careful to contract musicians that both had high level skills as ensemble players as well as being some of the most adept and known jazz soloists in New York. The demanding level of the music and solo spaces proved required this; there was limited time to rehearse and record the entire CD during April 2–6 of 2014. The CD was recorded by a full jazz orchestra (live, no overdubs) on April 4, 2014 at Systems Two Recording in Brooklyn, New York with extra recording of two solos by trumpeter Terell Stafford completed on April 6 at Lighthouse Recording on Staten Island. Grammy award winning sound engineers Mike Marciano and Ed Reed were used for the recording, editing, mixing and mastering.

The remainder of the budget needed ($18,750) was obtained through the crowd funding site Indiegogo during a highly successful campaign during 25 days in June 2014.[1][8][25][26] As part of that fundraising initiative a category of pledges was developed to lend an important educational aspect to production and support of the project. A donor gave $3000 (part of the Indiegogo) in order to have Cooper visit the University of Northern Iowa campus on April 8–10, 2015 and work with the jazz ensemble in the School of Music. Five of the Mists/Ives jazz orchestra works were performed as well as a new work that was commissioned from Cooper for the group.[27]

Album cover and design[edit]

The Housatonic River, inspiration for the Mists: Charles Ives for Jazz Orchestra album cover

Special note is to be taken in consideration of the album design due to its significance to Charles Ives and his catalogue of works. While in the process of producing the Mists album artwork and design during the summer of 2014, Executive producer Thomas Bellino and his wife Terry Lamacchia (professional photographer) ventured north to the Housatonic River near Stockbridge, Massachusetts. Early in the morning several cover photographs were taken for the CD package allowing for a 'Mist' to be available early at sunrise over the Housatonic River. The cover is entitled "The Housatanic at Stockbridge" taken in the mid-summer of 2014, directly related to the Charles Ives' work and the third movement of Three Places in New England.

There is a Man living in this country - a composer. He has solved the problem of how to preserve one's self and to learn...his name is Ives.[28]
Arnold Schönberg, 1944, after migrating to Los Angeles, quote as part of the Mists liner notes

Great care was taken by the design firm of Philip Pascuzzo (Pepco Studios) in Albany, New York to integrate the overall album design into the cover artwork.[29] The austere colors of forest green, gray, black and white perfectly match the vision the album producers/artists were aiming for with the release of Mists. When submitted by Mr. Pascuzzo, unanimous approval was given by Bellino, Bonilla and Cooper. The liner notes were composed and edited by professional technical writer Sarah Cooper Douglas. The notes outline the program and include a famous quote about Ives from the expressionist Austrian composer and painter Arnold Schönberg. Along with Ives, Cooper closely studied the musical works of Schönberg and Alban Berg.

The Individual Works from MISTS[edit]

Mists[edit]

Cooper conducting the Mists recording session on April 4th, 2014

Of all eight Ives original songs, Mists is the shortest with The Cage a close second.[30] The implications are a great deal of material was developed based on only a very few melodic, harmonic, and rhythmic ideas. References can be heard to Dee Barton's writing he did for Stan Kenton and some of Thad Jones writing for his own jazz orchestra; a mix of the two.[31] A comparison can be made to Beethoven's Sinfonia Eroica being so complex but only using a simple Eb major triad; Mists consists of only two whole-tone scales, a small chord stream, and a simple major triad to end. The arrangement was developed from only little musical material.

The Last Reader[edit]

The Last Reader is a more traditional setting that was one of the less complicated Ives arrangements to complete.[32] It is set in three-quarter time. The arranger borrows Ives' idea of having two groups playing at once in harmonic and rhythmic conflict; this is on the front and back of the arrangement. The song itself is one of Ives' longer ones and is rich in harmonic material; Cooper's work is a huge exercise in new chord colors achieved for a large jazz ensemble using Ives' language.[33]

The Children's Hour[edit]

From the outset Cooper leaves The Children's Hour alone as much as possible.[34] It is a complete piece that Ives based on the Henry Wadsworth Longfellow poem; the harmonic and rhythmic language of Ives needed to be kept intact. Ives' original worked very well but is put to an Ahmad Jamal, Poinciana type of jazz feel. The Children's Hour was also inspired by the music of Manny Albam, whom Cooper had studied with in New York during the early 1990s.

Tom Sails Away[edit]

The longest and most complex of all Ives' works chosen for the recording was Tom Sails Away.[35] The harmonic and rhythmic ideas used are jazz and fusion but the formal layout is borrowed strictly from classical music, modified from the 14th century French Rondeau poetry form. It is transformed into a huge Rondo due to Ives' use of separate vignettes to tell the story contained within the entire song.

The Camp Meeting[edit]

The Camp-Meeting shows up in Ives' catalogue in several forms.[36][37] Regardless of which you are familiar with, the opening and closing of the work have a traditional American brass band sound. The middle of the arrangement is converted into a bossa nova and again was an exercise in new harmonic concepts taken from Ives' work.

Trumpet section for Mists, l-r Jim Seeley, Nick Marchione, John Walsh and Scott Wendholt

Watchman[edit]

Ives had a love for American hymns and transforming them into his own work. Watchman! is originally a Christmas hymn written by Boston choirmaster Lowell Mason in 1830.[38][39] Undoubtedly this is a hymn Ives played as an organist in Danbury, Connecticut in the late 1800s; he made it his own. His mixing of tonalities is recognizable throughout the work; Cooper uses Ives' devices and makes this into a more uptempo jazz waltz.

At the River[edit]

Again Ives fondness for religious hymns shows up in (Shall We Gather) At the River.[40] It resonated for Cooper because of hearing his mother play this for church services on the organ (Cooper was her page turner many times as a child). Like Ives, Cooper wanted a feeling of familiarity and newness all at once --- having the hymn tune, though familiar, emerge as a new idea; more striking and 'swinging' rather than its original context.

The Cage[edit]

The Cage is the very first of the eight written; ironically, many consider this to be the Tour De Force of the recording.[41] This contains many influences to generate compositional ideas from such a small but important Ives work. All the way from Bob Brookmeyer to Arnold Schoenberg and all in between; many other composers can be traced in the arrangmement. The small piece morphs into a 24 measure minor blues and then moves away leaving the listener hanging much like the philosophical question asked in the original Ives tune...'is life anything like that?' An interesting aside is the B3 organ heard on The Cage is the same instrument used on the famous 1968 pop hit In-A-Gadda-Da-Vida.[42]

Promotion[edit]

November 12, 2014 premiere of Mists CD in New York City at the Cutting Room

The first unveiling of the Mists: Charles Ives for Jazz Orchestra CD was to a Memphis NARAS chapter audience on June 26, 2014 at the Stax Museum.[43] The track played that evening was Watchman! and received a very favorable reception. The official CD release for the recording occurred on August 22, 2014 and publicity was handled by Two for the Show Media. The music from the entire CD was performed live for a CD premiere concert in New York at The Cutting Room on November 12, 2014.[44][45][46][47] Planet Arts Records submitted the Mists CD into the first round of the 57th Annual Grammy Awards for the categories of Best Arrangement Instrumental or a Cappella, Best Large Jazz Ensemble Album, Best Improvised Jazz Solo, and Producer of the Year, Non-Classical. The media firm Two For The Show was hired to handle all forwarding and promotion of media for the Mists album.[48] Subsequent performances of the music from the Mists CD have been made by the University or Northern Iowa Jazz Band One and the Lansing Symphony Orchestra Jazz Band.[27][49]

Critical reception and professional ratings[edit]

Professional ratings
Review scores
Source Rating
Chicago Tribune
Baltimore Sun
Glendale News-Press (L.A.)
Highly favorable[50][51]
Top 10 Jazz Recordings
for 2014[5][52]
Jazz Journal
United Kingdom
4/5 stars[53]
BBC Radio 3
United Kingdom
Jazz Line-Up
Playlist[54]
London Jazz News
United Kingdom
Highly favorable[55]
Jazz Podium
Germany
Highly favorable[56]
Fidelity
Germany
Feature
article[57]
JazzLife Magazine
Japan
Highly favorable[58]
All About Jazz 5/5 stars[59]
4.5/5 stars[60]
Best Recordings
of 2014[61]
#10 of top 12 read
reviews of 2014[62]
#1 of top 12
"Most Recommended"
reviews of 2014[63]
100 Best Albums of 2014
Ted Gioia
HONORABLE MENTION[64]
Roots Music Report's top 100 Jazz Album Chart for 2014 #88[65]
LA Jazz Scene
Scott Yanow
Highly favorable[66]
International Association of Jazz Record Collectors
IAJRC Journal
Highly favorable[67]
Commercial Appeal 4/4 stars [68]
Jazz Society of Oregon Highly favorable[69]
Midwest Record Highly favorable[70]
JazzTimes (2) Highly favorable[71][72]
Jazz Weekly Highly favorable[73]
O's Place Jazz Newsletter 4/5 stars[74]
JazzScan Highly favorable[75]
Tom Hull
Best Jazz Albums of 2014
B+(*)[76]
Jazz Reader 4.5/5 stars[77]
KPOO San Francisco
AVOTCJA’s BEST OF FOR 2014
#12[78]
The Nashville Musician Highly favorable[79]
The Daily News Highly favorable[80]
WDCB Chicago Highly favorable[81]
Rate Your Music 4.5/5 stars[82]

The vast majority of reviews from critics, Ives aficionados and educators for Mists: Charles Ives for Jazz Orchestra were highly favorable. Most all reviews recognize the recording as new territory sought, expanding the musical repertoire for large jazz ensembles. Howard Reich of the Chicago Tribune placed it #2 of the list of 10 top Jazz Recordings of 2014 writing, "Mists not only does justice by Ives but emerges as one of the most beautiful large-ensemble jazz recordings of the year to date."[5]

…This is a fun, exciting recording and one of the most creative big band projects of the year.[1]
Ted Gioia

Well known author and music critic Ted Gioia recognized the CD on his lists of notable recordings for 2014, “I always suspected that Charles Ives had the makings of a great jazz composer…This is a fun, exciting recording and one of the most creative big band projects of the year.”[1] Noted Ives biographer Gayle Magee, and president of the Charles Ives Society understood the impact of bringing Ives forward to new audiences, "...this CD…presents innovative, exciting arrangements of several of Ive's most popular songs for jazz orchestra. These recordings preserve the essence of classics like 'Mists,' 'The Cage,' and 'At the River' while offering a fresh, modern reinterpretation for Ives fans and jazz enthusiasts alike."[1] Critic Roland Schmenner (Fidellty HiFi und Musik Zeitschrift, Germany) details the extensive background of the Third Stream approach in his feature article from April 8, 2016. He goes onto compliment the recording, "In addition to the phenomenal ‘Groove’ recording, especially intriguing is the peculiar sound aesthetic obtained from Ives'. In short: The Third Stream lives."[57]

Internationally the recording gained high praise with critics in the United Kingdom, Germany and Japan. Jazz Journal's Anthony Troon postulated on the reaction of Ives' himself to the music, giving the CD 4 of 5 stars, "Presumably Ives never heard modern jazz but he would surely have been intrigued and impressed by this."[53] Again the significance of Ives music brought forward is recognized by Jazz Podium’s Tobias Böcker (translation), “...regardless of the (Ives) title, the listening time/music of the CD allows for big band jazz with a very happy, non-pedantic vitality, with great clarity and open musicality.”[56] While the vast majority or reactions were very positive, the music and media critic Tom Hull found the recording lacking, “big band Charles Ives, postmodern but third stream only in that it could use some swing.”[76]

The recording has gained notoriety among composers to include Scott Healy who wrote an extensive blog entry outlining the significance of the work and provides analysis of one of the Ives adaptations.[83] Noted composer for the Stan Kenton Orchestra, Mark Taylor and 2014 Grammy nominated composer Dave Slonaker both highly praised the CD at the time of its release.[1]

Musicians: soloists on Mists[edit]

One of the clear strengths of the Mists recording recognized by critics is the 'live, in studio' interaction of the band with soloists. Frank Griffith of the London Jazz News remarks, "...Top solos abound from the likes of Billy Drewes and Ivan Renta on saxophone, trumpeter Jim Seeley, pianist, Randy Ingram as well as veteran VJO lead trombonist, John Mosca."[55] The vast majority of writers recognize the spontaneity of each soloist and how each capture the feeling and purpose of the music. Anthony Troon of the U.K. Jazz Journal gives an overall impression of soloists and ensemble fitting together seamlessly, "...most convincingly carried this thought to its logical conclusion with this ensemble...with virtuoso jazz trumpeter Terell Stafford as guest soloist. ...linking solo, duet and trio passages fits naturally to the composer’s melodic invention, with intriguing changes of color and mood."[53] George Harris of Jazz Weekly recognizes other important soloists and individual efforts made by key players, "...Panoramic themes are able to swing on Mists which also includes rich solos by Stafford and Evan Renta/ts. A bluesy cadence feels right (on At The River) with Luis Bonilla’s trombone...you even get some smoky B3 (Randy Ingram) on The Cage, with Vince Cherico driving the band with his drums like a scene from Ben Hur."[73]

Disc jockeys and radio airplay[edit]

While the Mists recording endeavored to meld the classical modernist Charles Ives into the ‘modern jazz world,’ jazz disc jockeys and stations were somewhat divided in giving airplay to the album. When following up with D.J.s It was reported by the media company Two For The Show, some stations and program managers did not know what to do with the CD. For several, seeing the Ives name meant “classical” and they sent it to the classical D.J. (being an NPR programmer) or never attempted to hear the CD or program with a misunderstanding of what the music was all about.[84]

Even with misunderstandings by certain radio stations, Mists did well in major markets in the United States; most notably New York, Chicago, and San Francisco. Initial programming on Chicago’s WDCB.FM “New Releases Spotlight” reveals, “...Mists gets my pick for big band album of the year. …these songs are simply breathtaking.”[85] Award winning Bay area jazz disc jockey Bradley Stone noted, "...what a gorgeous CD! …Candidate for 'record of the year' in my book!" Mists charted for 18 weeks during the Fall and Winter of 2014/2015 having peaked in the #59 slot in the U.S. (week of October 6, 2014).

Internationally the recording had its most favorable airplay and ratings premiering at the #8 slot in Canada of all albums (all genres) for the week of October 26, 2014.[86] ”Watchman” (track 6) was also chosen for the BBC Radio 3 “Jazz Line” for the week of November 1, 2014 giving the album significant visibility in the U.K. during that time.[54] The jazz disc jockey Jan Johansen of Riviera FM in Torbay, England continues to regularly feature the recording on his ‘The Arrangers Touch’ show on Sunday evenings. It also continues to be a regularly played release on the KMHD Jazz Radio 89.1 FM (NPR, Oregon) into 2016 for jazz D.J. Carlton Jackson on his Sunday evening show, "The Message."

Track listing[edit]

All tracks written by Charles Ives, all selections arranged and adapted for jazz orchestra by Jack Cooper.

No. Title Length
1. "Mists" 6:14
2. "The Last Reader" 7:30
3. "The Children's Hour" 8:08
4. "Tom Sails Away" 8:08
5. "The Camp Meeting" 6:51
6. "Watchman!" 5:01
7. "At The River" 6:16
8. "The Cage" 7:56

Recording Sessions[edit]

Recorded at Systems Two Studio in Brooklyn, New York and Lighthouse Recording in Staten Island, New York.

Personnel[edit]

Charts[edit]

Year Chart Type Song/Album Peak Position Chart Date
2014 Roots Music Report - Jazz Albums Album Mists: Charles Ives
for Jazz Orchestra
18 November 4, 2014[87]
Roots Music Report - Top Albums (Canada Canada) 8 October 26, 2014[86]
JazzWeek Airplay Reporting 59 October 6, 2014[88]

Release history[edit]

Region Date Label Format
Canada[89] October 28, 2014 Planet Arts Records CD, digital download
United Kingdom[90]
Japan[91] August 22, 2014
United States[92]

See also[edit]

References[edit]

  1. ^ a b c d e f Indiegogo, Mists: The Music of Charles Ives for Jazz Orchestra funding campaign, June 3–27, 2014
  2. ^ Mists: Charles Ives for Jazz Orchestra catalogue entry in the United States Library of Congress
  3. ^ Mists: Charles Ives for Jazz Orchestra catalogue entry in the Deutsche Nationalbibliothek
  4. ^ Magee, Gayle. Charles Ives Reconsidered University of Illinois Press, 2008
  5. ^ a b c d Reich, Howard. Chicago Tribune, music column, Top 10 Jazz CDs of 2014, December 3, 2014, also syndicated and was published in the Baltimore Sun, the Capital Gazette, and the Virginia Gazette
  6. ^ Robert Voris with the Belle Canto Choir as soloist
  7. ^ biography for Georgie Cooper on Discogs
  8. ^ a b c Musical Tribute: Jazz Foundation, professor honor Charles Ives with CD. Don Wade, Staff writer, The Memphis Daily News, VOL. 129, NO. 157, August 13, 2014
  9. ^ Festival of Song LP, Robert Voris and Georgie Cooper, recorded October 26, 1963
  10. ^ William Hall Master Chorale, founded in 1956, Los Angeles Times, October 8th, 2002
  11. ^ Cooper had toured as a saxophonist, woodwind specialist and staff arranger with the United States Army Jazz Knights from 1989-1995
  12. ^ Elliott Antokoletz, University of Texas at Austin
  13. ^ Antokoletz, Elliott. Twentieth Century Music Prentice Hall. Inglewood Cliffs N.J. 1996.
  14. ^ WKNOFM/NPR radio, A Great American Modernist Gets Jazzed by Christopher Blank, April 21st, 2014
  15. ^ a b c Cooper, Jack T. Three Sketches for Jazz Orchestra Inspired by Charles Ives Songs. University of Texas at Austin, 1999. Thesis (D.M.A.) OCLC 44537553 ISBN 9780599496286
  16. ^ “Complete Songs of Charles Ives” Albany Records, in four volumes
  17. ^ Alumni Biographical page (jazz), The University of Texas, Butler School of Music
  18. ^ Magee, Gayle. Charles Ives: A Guide to Research. Psychology Press. pp 85.
  19. ^ Burk, James Mack. A Charles Ives omnibus. Pendragon Press, 2008. pp 840.
  20. ^ University of Texas Libraries entry linking both CD and treatise
  21. ^ Yale University, Irving S. Gilmore Music Library, Charles Ives Archival Collection
  22. ^ Summit Jazz Orchestra at All Music Guide
  23. ^ Brookmeyer visited the University of Memphis March 1–2, 2002 as a guest artist and had a long conversation with Cooper about the Mists/Ives scores
  24. ^ Aaron Copland Fund Awards $500,000 in Recording Grants by Amanda MacBlane, May 29, 2003. $10,000 grant awarded to Planet Arts Recordings to record "Mists: The Music of Charles Ives for Jazz Orchestra" in 2003
  25. ^ Crowd-funding campaign for local jazz CD hits all right notes, Rob Robertson, Staff writer - Memphis Business Journal, July 9, 2014, 2:49pm CDT
  26. ^ Musicians turn to crowdfunding for projects, Tennessee Jazz and Blues Society (Nashville), June 16th, 2014
  27. ^ a b April 2015 edition of NPR/IPR's Iowa Arts Showcase, Performance by UNI Jazz Band One and Jack Cooper on April 10th, 2015, interview with UNI professor Chris Merz
  28. ^ Quote from Arnold Schönberg on Wikiquotes from 1944
  29. ^ Pepco Studios or Albany, New York
  30. ^ Mists, Charles Ives, original version from 1910
  31. ^ Dee Barton's composition Turtle Talk from the Grammy winning recording Adventures In Jazz is used as a reference work for the arrangement of Mists
  32. ^ The Last Reader, Charles Ives, original version from 1921
  33. ^ Cooper has acute Chromesthesia and does a great deal of composing and arranging through this phenomenon.
  34. ^ The Children's Hour, Charles Ives, original version from 1902.
  35. ^ Tom Sails Away, original version from 1917
  36. ^ Charles Ives catalogue of works, The Charles Ives Society.
  37. ^ The Camp-Meeting, Charles Ives, original version from 1920
  38. ^ Watchman, Lowell Mason.
  39. ^ Watchmen!, Charles Ives, original Ives version, 1924
  40. ^ At The River, Charles Ives, original version, 1916
  41. ^ The Cage, Charles Ives, original version, 1906
  42. ^ the B3 organ in Systems Two Recording was acquired from Ultrasonic Studios
  43. ^ Memphis NARAS membership celebration and listening party for new releases
  44. ^ Mists: Charles Ives for Jazz Orchestra premiered at The Cutting Room on November 12th, 2014
  45. ^ VIMEO of "At The River" from the Mists premiere on November 12th, 2014 in New York City at the Cutting room
  46. ^ Richens, Mark. 'Night Notes' column, The Memphis Commercial Appeal, Nov. 18th, 2014 (Jack Cooper's 'Mists' ensemble in New York)
  47. ^ Richens, Mark. 'Night Notes' column, The Memphis Commercial Appeal, Dec. 2nd, 2014 (video of Nov. 12th CD premiere included)
  48. ^ Two For The Show media web site
  49. ^ Lansing Symphony Orchestra Jazz Band, Sunday, October 11, 2015
  50. ^ Reich, Howard. Chicago Tribune, jazz review, September 22, 2014, also syndicated and was published in the Baltimore Sun, the Capital Gazette, and the Virginia Gazette
  51. ^ Reich, Howard (syndicated). Baltimore Sun, jazz review, September 23, 2014
  52. ^ Reich, Howard. Glendale News-Press, jazz review, December 3, 2014
  53. ^ a b c Troon, Anthony. Jazz Journal, MISTS CD/jazz review, May 2015, Volume 68, No. 5, pp. 37
  54. ^ a b "Watchman" chosen for the BBC Radio 3 playlist, November 1st, 2014
  55. ^ a b Griffith, Frank. London Jazz News, MISTS CD/jazz review, December 30, 2014
  56. ^ a b Bucker, Tobias. Jazz Podium Magazine (review), September, 2015 (year 64), pp. 76 ISSN 0021-5686
  57. ^ a b Fidelity zeitschrift (record reviews), Mists: Charles Ives for Jazz Orchestra/CD review, Schmenner, Roland. FIDELITY No. 25, April 8, 2016, pp. 133
  58. ^ JazzLife Magazine review, December, 2014, page 98
  59. ^ All About Jazz, review by C. MICHAEL BAILEY, September 21, 2014, note: 5 out of 5 stars on AAJ is rare.
  60. ^ All About Jazz, review by JACK BOWERS, September 23, 2014
  61. ^ All About Jazz, C. MICHAEL BAILEY, December 16, 2014, note: given 5 out of 5 stars on AAJ.
  62. ^ Top 12 "Most Read" Album Reviews: 2014
  63. ^ Top 12 "Most Recommended" Album Reviews: 2014
  64. ^ Gioia, Ted. The 100 Best Albums of 2014
  65. ^ Roots Music Report's Top 100 Jazz Albums for 2014
  66. ^ Yanow, Scott. LA Jazz Scene, MISTS CD/jazz review, December 2014
  67. ^ Reny, Bob. CD Review. MISTS: Charles Ives for Jazz Orchestra, IAJRC Journal, Vol. 48, No. 2 - June 2015
  68. ^ "Listening Log: Otis Clay & Johnny Rawls, ‘Mists: Charles Ives for Jazz Orchestra,' John Kilzer," Mark Richens, Commercial Appeal, October 13, 2014 review
  69. ^ Fendel, George, Howard. Jazz Society of Oregon, CD review, November, 2014
  70. ^ "Midwest Record Review, 09/19/14, CHRIS SPECTOR, review". 
  71. ^ Vaughn, Brent. 20th Century Classical Meets 21st Century Jazz Orchestra JazzTimes review, September 18, 2014
  72. ^ Gregg, Dave. Mists: Charles Ives for Jazz Orchestra JazzTimes review, September 12, 2014
  73. ^ a b Harris, George. Jazz Weekly, MISTS CD/jazz review, January 2, 2015
  74. ^ D. Oscar Groomes. O's Place Jazz Newsletter, MISTS CD/jazz review, February, 2015: "Mists is a collection of works by Charles Ives arranged and orchestrated by Jack Cooper and performed by the DoAM Ensemble. DoAM is the Documentation of American Music Initiative, a recording series by Planet Arts. This is a strong performance highlighted by "Tom Sails Away", "The Camp-Meeting" and "Watchman". The rhythm section is exceptional with pianist Randy Ingram, bassist Andy McKee, Vince Cherico (d) and Alex Wintz (g). They inject solos along the way with the brass to make this session sing!"
  75. ^ Bang, Ric. JazzScan, MISTS CD/jazz review, March 10, 2015
  76. ^ a b Hull, Tom. Tom Hull on the Web, MISTS CD/jazz review, Jan. 31, 2015
  77. ^ Gregg, Dave. The Jazz Reader, MISTS CD/jazz review, September 21, 2014
  78. ^ AVOTCJA’s BEST OF FOR 2014, Jan. 1, 2015
  79. ^ Bealmear, Austin. "Jazz and Blues Beat" (reviews), The Nashville Musician: The Official Journal of the Nashville Musicians Association, AFM Local 257, August 2016, Pub. Aug 8, 2016, pp. 26
  80. ^ Wade, Don. "Musical Tribute Jazz Foundation, professor honor Charles Ives with CD " (reviews), The Daily News (Memphis), Wednesday, August 13, 2014, VOL. 129, NO. 157
  81. ^ WDCB Chicago, The Music Lounge. Preview/reviews, New Releases Spotlight: Week of October 20, 2014
  82. ^ Rate Your Music, Mists: Charles Ives for Jazz Orchestra
  83. ^ Scott Healy composition and arranging page, Tom Sails Away Analysis, March 23, 2015
  84. ^ Reported by the C.E.O. Chris DiGirolamo of Two For The Show media in late Fall of 2014
  85. ^ WDCB New Releases for October 20, 2014: MISTS
  86. ^ a b "Weekly Top 50 Canada Album Chart!". Roots Music Report. Retrieved 2014-10-26. 
  87. ^ "Weekly Top 50 Jazz Albums Chart!". Roots Music Report. Retrieved 2014-11-04. 
  88. ^ "JazzWeek Radio Airplay charting". 
  89. ^ "Mists: Charles Ives for Jazz Orchestra (2014)".  Amazon.ca
  90. ^ "Mists: Charles Ives for Jazz Orchestra (2014)". Amazon UK. 
  91. ^ "Mists: Charles Ives for Jazz Orchestra (2014)".  Amazon.co.jp
  92. ^ "Mists: Charles Ives for Jazz Orchestra (2014)". Amazon.com. 

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