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The authors integrate personal stories, descriptions of classroom assignments and activities, and current research in writing studies. Their work shows that writing can contribute to personal, social, and political transformation by nurturing vulnerability, compassion, and empathy among students and instructors alike. Greenfield, Suzanne Kucharczyk, Johanna M. Praise Summary Table of contents Author biography This book is an edited collection for our times, one that speaks to a desperate need to embrace our shared humanity and refocus our individual and collective energies on imagining and working toward a more equitable, peaceful, and humane future.

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Filmography

Number of pages Physical size mm x mm. Publication date December And their local church, the Full Gospel Assembly of God, was a musical nucleus for the entire family. He used to let me sit in from time to time. I just wanted to be involved. At age eight, Joe began lessons with local college students, and within four years his quick advancements inspired his father to seek out the best pro guidance available.

Young Saylor had found his mentor. Sometimes the whole lesson would be just Roger sitting at the drums and playing a solo for two hours straight. I remember going back to sixth grade on the following Mondays and thinking to myself, I had an experience this weekend that none of my classmates would understand.


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  3. Who is Jon Batiste? The 411 on Stephen Colbert’s Cool New House Band Leader.
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Ironically, the drumming resource Saylor did bypass was the one closest within reach. I loved watching the drummers in the marching band. When I got to high school, I joined, mostly because I had to—my dad was the band director! I hated it, though. I just wanted to play drumset. Now, when I look back at my younger self, I wish I had taken it more seriously.

But at the time I thought, Aw, this is dumb—I want to swing out! The young Saylor can be forgiven—in his household, jazz LPs, largely big band music, were constantly spinning on the turntable.

Jon Batiste & Stay Human

And Humphries initiated Saylor into another facet of jazz. The upstart was hooked. Eager to form his own group, Saylor recruited his two best friends, pianist Angelo Versace and bassist Philip Kuehn. Improving by leaps and bounds through their high school years, they picked up local gigs, eventually graduating to more substantial dates in Pittsburgh. And they even rubbed elbows with legends. And he would set up gigs for us to play with them—outside of the high school—when they were in town. He would set up gigs in Pittsburgh at clubs, with the paj3 rhythm section accompanying various artists.

The young friends also performed with Ellis Marsalis when he came to town to teach a master class. The place you really learn how to play is on the bandstand. And it helps learning with people who can really play. You can get it somewhat from listening to recordings.

Staying Human | Hamas | Al Jazeera

Saylor studied with Humphries for six years, eventually advancing to the level where the teacher subbed out some of his own gigs to the fledgling player. Once engaged in their conservatory studies, Saylor and Batiste gathered freelance gigs, and Batiste recruited Saylor to form a trio. At the Rubin Museum of Art. When Kuehn left town for a summer, the band found itself adrift.

But the temporary setback turned out to be a serendipitous open door. Tuba player Ibanda Ruhumbika stepped in to fill the gap, along with saxophonist Eddie Barbash. The new unit set upon a grassroots strategy—or perhaps a pavement strategy—that would change its future. We could play in the street or the subway station.

But not like typical buskers. We did that every single night for an entire summer. We ended up getting so many fans. And we eventually realized that this is how we could build a fan base. Saylor often grooved the crowd with only his lone tambourine at hand. Our fan base just grew and grew. We became known for doing this kind of mobile concert. And that mobile band became known as Jon Batiste and Stay Human.

At its club gigs, the band would often harken back to its street roots, parading audiences through venues and out into the streets, with Batiste leading the way, wailing on his melodica and followed by tuba, sax, and Saylor providing some impressively funky tambourine playing. The pied-piper unit gained visibility, leading to a stroke of luck: For a July appearance, Colbert featured the band in support of its album Social Music.

While interviewing Batiste, Colbert asked him to define the meaning of the title. The world is global right now. I draw from all styles. As the tune shifted into the bridge, the camera framed Saylor as he fired off hellacious fills over the deep pulse. Batiste tore it up behind the keys, then kicked the stool out from under him and grabbed his melodica. With Saylor close behind, now strutting while playing a snaky tambourine pulse, the surging march was on. The audience—plus Colbert—jumped to their feet. Forming a human train, they low-crouch strided out the doors, surging onto 54th Street and into additional crowds that merged with the celebration.

He got together and had a conversation with Jon, and they found they had similar beliefs, philosophies, goals, and intentions in what they were all about.

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And the core unit could also experiment with diversity, varying its sound with a roster of guest members. And the selection of Stay Human for the revered house-band position was a colossal coup for a lower-on-the-radar indie group. Saylor and company realized they were filling the shoes of late-night royalty, so they appreciated the opportunity when former musical director Paul Shaffer met with them to offer his blessings and plenty of good advice.

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The band leans toward originals rather than cover-tune snippets and embraces an in-the-moment vibe, often joyfully winging it. Usually Jon writes the music according to the guest. We pretty much learn everything by ear the day of. Jon either writes the music beforehand and brings it in and teaches it to us, or he comes up with it the day of.

I personally hate reading sheet music while playing. It distracts me from making music. Some people are great at it; I never have been, partly because my focus is somewhat on the piece of paper rather than fully inside the music. Thankfully, this band has a similar theory about that.