Podcasts about kaufman center

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Alex Croxton, Alex is currently a faculty member at Mannes Prep, the Special Music School at the Kaufman Center, the Head of Cello at the School for Strings, and he has a full private studio in NYC. Alex shares about the impact the Suzuki method has had on his ability to work successfully with his students, and how it led to his interest in becoming certified as a teacher trainer. He also speaks about his own journey as a beginner on the cello at the age of 12 and he talks about the consistent building blocks of learning to tackle the cello at any level.For more information on Alex Croxton: https://www.newschool.edu/mannes/faculty/alexander-croxton/You can also find Alex on FacebookIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Executive Director of ACH Clear Pathways Tyian Battle joins Larry and Kevin to discuss the construction of the ACH Clear Pathways​ facility at the Kaufman Center and tragic loss of her son.

Dr. Steven Nissen, Chief Academic Officer, Chief Academic Officer, Sydell and Arnold Miller Family Heart & Vascular Institute talks with Dr. Jerry Estep, Section Head of the George M. and Linda H. Kaufman Center for Heart Failure Treatment and Recovery and Brad Williams Pharm D, pharmacy specialist for heart failure about drug recalls. In light of the recent ARB recalls, these three medical experts discuss the ARB recall, how to keep current with new recalls, what physicians should do when a medication has been recalled, the challenges of generic medications, alternative medications for heart failure and hypertension, and when ARBs should be used.

Dr. Steven Nissen, Chief Academic Officer, Chief Academic Officer, Sydell and Arnold Miller Family Heart & Vascular Institute talks with Dr. Jerry Estep, Section Head of the George M. and Linda H. Kaufman Center for Heart Failure Treatment and Recovery and Brad Williams Pharm D, pharmacy specialist for heart failure about what to do when your medication has been recalled. In the light of several heart failure medications being recalled, these two experts provide advice and resources all patients on medications should know.

Steven Nissen, MD talks with Jerry Estep, MD, Section Head, Heart Failure and Transplantation and Edward Soltesz, MD, Surgical Director of the Kaufman Center for Heart Failure and Recovery about what a diagnosis of heart failure means, what medications help improve survival and quality of life, when a patient should seek a second opinion about advanced heart failure therapies such as left ventricular assist device (LVAD) or heart transplant, and what LVADs do and how they work.

Dr. Steven Nissen discusses talks with Jerry Estep, MD, Section Head, Heart Failure and Transplantation and Edward Soltesz, MD, Surgical Director of the Kaufman Center for Heart Failure and Recovery about innovations in heart failure surgery, including changes in LVAD therapy and heart transplant making an impact on patient outcomes, when patients should be referred for advanced heart failure therapy, LVAD back-up strategies for traditional cardiac surgery, the newest medications and when to prescribe, and the new technologies for pulmonary pressure monitoring.

After a webchat on heart failure treatments, Dr. Maria Mountis, heart failure cardiologist and Dr. Edward Soltesz, Surgical Director of the Kaufman Center for Heart Failure and Recovery discussed topics that were addressed during the chat including heart failure medications, cardioMEMs monitoring, when patients are considered for advanced therapies, what patients should know about heart transplant or ventricular assist devices, and high risk heart surgery for patients with heart failure.

Tania Stavreva: Classical Top 10 selling artist and "Bulgarian-born piano dynamo" s described by the critics as "most unique, most exciting, mesmerizing, world class, bold, and fascinating!". She has performed at Carnegie Hall's Stern Auditorium/Perelman Stage, Lincoln Center, Kaufman Center, Jazz at Lincoln Center, the Grammy Museum Theater to name a few. Her "knockout" (The Huffington Post) album Rhythmic Movement was just released in January 2017 and immediately reached Billboard top 10. Tania is also one of the most versatile young artists of her generation, participating in projects outside the box like performed body painted in 2012 at Galapagos Arts Space in New York, as well as opened for Amanda Palmer at Paradise Rock Club (Boston) and Webster Hall (NY), making classical modern music accessible to larger crowds and younger audiences. To find out more about Tania and to buy her new critically acclaimed album, please visit: www.taniastavreva.com/shop 

Kliment Krylovskiy, clarinet; Vanessa Mollard, violin; and Riko Higuma, piano PROGRAM:  Béla Bartók — Contrasts (1881 – 1945) I    Verbunkos:  Moderato, ben ritmato II    Piheno:  Lento III   Sebes:  Allegro vivace Dmitry Shostakovich — Three Duets (1906 – 1975) I    Praludium II   Gavotte III  Walser  Aram Khachaturian — Trio for Clarinet, Violin, and Piano (1903 – 1978) I    Andante con dolore II   Allegro III  Moderato – Prestissimo - Moderato The Zodiac Trio The Zodiac Trio enjoys an international concert schedule that spans three continents and presents an eclectic repertoire that mixes contemporary with the traditional. In its relatively short history - the ensemble formed in 2006 at Manhattan School of Music, before becoming the first American group and the only ensemble with a wind instrument to enter the esteemed Ysaÿe Quartet Chamber Music program at the Paris Superior Conservatory -  has managed to achieve a level of recognition on the international chamber music stage, rarely bestowed upon an ensemble of such untraditional instrumentation. The Trio has performed at Ottawa Chamberfest, Festival Radio France Montpellier, International Colmar Festival, the Oriental Performing Arts Center in Shanghai, National Performing Arts Center in Beijing, Izumi Hall in Japan, Lincoln Center’s Bruno Walter Auditorium, New York’s Tishman Auditorium and Merkin Concert Hall, UCLA Clark Library; has been broadcast by France 3 Television, Beijing’s CCTV News, Canada’s CBC Radio and Television, NBC, WXQR, 98.7 WFMT, WGBH’s “Live from Frasier”, and has recorded for Radio France in Paris. The Zodiac Trio was originally formed under the guidance of renowned clarinetist David Krakauer and violinist Isodore Cohen of the Beaux Arts Trio. Shortly after its inception, the Trio was introduced to the New York audience on WQXR’s “Young Artist Showcase.”  Subsequently, the Zodiac Trio gave its official debut at the Kaufman Center, prompting Edith Eisler of the New York Concert Review to describe the young ensemble as “excellent...” praising its “remarkable ability” and “infectious enjoyment of the music.” The debut was followed by a string of concerts in Southern France where the Trio was further praised by the local media: “...unforgettable concerts by the Zodiac Trio! ...Truly exceptional and sublime talent... The prestigious level of the performances radiated the undeniable talent of the trio and foreshadowed their great success in the future.” – raved the Nice- Matin. In 2007, the Zodiac Trio was first brought to the attention of the international chamber music scene in a feature by the London- based international MUSO magazine, praising the Trio for “bringing a rare combination of instruments into the spotlight by unearthing old repertoire and commissioning new music.” At this time, the young ensemble was making its mark on the competition circuit, having garnered prizes at the Yellow Springs Chamber Music Competition (Ohio, U.S.), FNAPEC International Chamber Ensemble Competition (Paris, France), International Chamber Music Competition of Duchi D'Acquaviva (Italy), Val Tidone International Music Competition (Italy), the Cziffra Foundation (France), Joyce Dutka Foundation for the Arts (New York), International Peninsula Young Artist Festival in California and the ProMusica Ensemble Competition (France), among others. The ensemble also received a Recording Grant and a Commission Grant from Co-op Press, resulting in its first commercial CD.

TRANSFORMATIONSJazz guitarist Roni Ben-Hur has earned a sterling reputation as a musician and educator, renowned for his golden tone, improvisational brilliance, compositional lyricism and ability to charm peers, students and listeners alike. Eminent jazz critic Gary Giddins wrote in the Village Voice: "A limber and inventive guitarist, Ben-Hur keeps the modernist flame alive and pure, with a low flame burning in every note... [He's] a guitarist who knows the changes and his own mind." Ben-Hur - born in Israel in 1962 but a longtime American citizen, now based in New Jersey - has released nine albums as leader or co-leader, with Time Out New York calling him "a formidable and consummately lyrical guitarist." The Star-Ledger of New Jersey summed him up this way: "A deep musician, a storyteller, Ben-Hur works with a warm, glowing sound and has an alluring way of combining engaging notes with supple rhythm." Along with releasing acclaimed educational products - including the instructional DVD Chordability and method book Talk Jazz: Guitar - Ben-Hur has directed international jazz camps for nearly 15 years. Jazz guitar star Russell Malone got it right when he said: "Everything Roni does is beautiful. He has the magic touch."Ben-Hur's latest album is Our Thing (Motéma Music, 2012), a co-led trio project with Panamanian-born bassist Santi Debriano that also features Brazilian drummer Duduka Da Fonseca. Marked by soulful grooves, telepathic interplay and a rich, organic ensemble sound, Our Thing ranges from deeply swinging interpretations of Thelonious Monk's "Green Chimneys" and Irving Berlin's "Let's Face the Music and Dance" to a pair of poetic tunes by Antonio Carlos Jobim and several beautiful originals that channel the players' Middle Eastern, Latin and Brazilian heritages through a post-bop prism. One of Ben-Hur's compositions is a fresh rendition of a longtime favorite in his songbook: "Anna's Dance," written for one of his two daughters. DownBeat called Our Thing "mesmerizing," while New York City Jazz Record captured it colorfully: "Ben-Hur, Debriano and Da Fonseca sway with the grace of palm trees, exuding a laidback introspection." The Buffalo News encapsulated the album by describing it as "delectable jazz internationalism of near-Olympic variety. Ben-Hur and Debriano are players of first-rate fluency and taste."Ben-Hur's family relocated from Tunisia to Dimona, Israel, where he was born into large family - teaching him good ensemble values early on. The guitarist began playing in wedding bands and in Tel Aviv clubs as a teenager enraptured by the recordings of Wes Montgomery, Grant Green, Jim Hall and Kenny Burrell. The young musician also came to love the classical Spanish repertoire via Segovia, hearing a Moorish sound that resonated with his family's North African roots. Later, after moving to New York in 1985, he would fall for Brazilian music, particularly through the work of guitarist-composer Baden Powell. When Ben-Hur came onto the New York jazz scene, he was fortunate to be taken under the wing of veteran jazz pianist Barry Harris, a Monk disciple and Grammy Award-winner who led the influential Jazz Cultural Theater during the mid-'80s in Manhattan. The up-and-coming guitarist played in Harris's band, absorbing musical wisdom and life lessons.Teaching has become increasingly important to Ben-Hur over the years, as he has developed an international reach as an educator. As founder and director of the jazz program at the Lucy Moses School at the Kaufman Center in Manhattan since 1994, Ben-Hur has educated a multitude of jazz enthusiasts in ensemble playing, improvisation and jazz guitar. Along with his jazz camp with Santi Debriano in the South of France, Ben-Hur led camps for years in Patterson, N.Y. More recently, through his company Adventures in Jazz - which he operates with his wife, singer Amy London - Ben-Hur conducts jazz camps in Cabo Rojo, Puerto Rico, in Istanbul, Turkey, and in Schroon Lake, N.Y., teaching workshops in straight-ahead jazz, Latin jazz and Brazilian jazz with Debriano and other teachers. With Brazilian bassist Nilson Matta, Ben-Hur also co-leads Samba Meets Jazz camps in Paraty, Brazil, and in Bar Harbor, Maine.With his partner in the Samba Meets Jazz camps, bassist Nilson Matta, Ben-Hur released the album Mojave (Motéma, 2011), which also featured drummer Victor Lewis and percussionist Café. The album was the second in Motéma's Jazz Therapy series. The series was co-founded by Ben-Hur and the label to raise money and awareness for the Dizzy Gillespie Memorial Fund of New Jersey's Englewood Hospital and Medical Center Foundation, which provides care for uninsured jazz musicians. The first album in the series wasSmile, Ben-Hur's 2008 duo set with veteran guitarist Gene Bertoncini.Ben-Hur and Matta are each masters of a musical tradition, the guitarist with bebop and the bassist with samba. Mojave sees them meld the two worlds, in league with New York jazz drummer Victor Lewis and Brazilian percussionist Café. They range from pieces by such Brazilian icons as Jobim, Baden Powell and choro pioneer Pixinguinha to Burt Bacharach's "The Look of Love" and deftly rhythmic originals by all four players. One of Ben-Hur's contributions is the moody beauty "Eretz" (Hebrew for "land"), another of his signature tunes interpreted afresh. The Rochester City Newspaper offered a glowing review of the album: "Mojave is magical from start to finish... The combination of Matta's samba and Ben-Hur's swing is a marriage made in heaven.Acclaim for Smile, Ben-Hur's dual-guitar album with Gene Bertoncini, was equally wide-spread. The New York Times lauded the "sophisticated and lyrical" musicianship, and DownBeat simply called the album "stunning," as the players stretch from the Charlie Chaplin title track and the Arlen-Mercer standard "Out of This World" to an enterprising take on Roberta Flack's hit "Killing Me Softly" and two of Ben-Hur's personal standards - his "Anna's Dance," written for one daughter, and "Sofia's Butterfly," penned for the other. Jazz sage Nat Hentoff praised the "lyrically meditative dialogue" between the two guitarists in the Wall Street Journal, while the Washington Post was enamored by "the dazzling dexterity and tasteful elegance of these duets."Two other key albums in Ben-Hur's discography are Fortuna (Motéma, 2009) and Keepin' It Open (Motéma, 2007), both quintet sets with piano vet Ronnie Matthews and ultra-swinging drummer Lewis Nash, plus percussionist Steve Kroon. Keepin' It Open, which also includes bassist Santi Debriano and trumpeter Jeremy Pelt in the group, has a wide purview, from Monk's rollicking "Think of One" to a dark-hued old Sephardic melody, "Eshkolit." Tapping into his family's Sephardic Jewish roots and his love of the Spanish classical guitar repertoire, Ben-Hur recasts Granados' "Andaluza" as an ensemble piece. And the guitarist's originals include the finger-snapping "My Man, Harris," a tribute to his mentor Barry Harris. JazzTimes called the album "a delight from start to finish," while critic Scott Yanow singled out the guitarist on All Music, saying that Ben-Hur "can swing as hard as anyone."Fortuna, which has Rufus Reid on double-bass, sees Ben-Hur recast Albéniz's "Granada" with an ear for the early Israeli popular music influenced by the Moorish sound. Along with two Jobim numbers, the disc includes the Irving Berlin ballad "I Got Lost in his Arms" and Ben-Hur's funky original "Guess Who." Jazz scholar Dan Morgenstern listed Fortuna as one of his top 10 discs of 2009. JazzTimes described the album this way: "A keen story teller, Ben-Hur's dexterous, melodic and emotive playing is supported by a tight-knit cast of stellar musicians... his skill and warm tone underscoring the band's chemistry." All About Jazz said, "Fortuna is a sparkling ode to the brightness of life."Ben-Hur's album Signature (Reservoir, 2005) put the guitarist in the company of pianist John Hicks, bassist Rufus Reid and drummer Leroy Williams, again plus percussionist Steve Kroon. The tracks include the first appearance of Ben-Hur's gem "Eretz," plus two pieces by Villa-Lobos and tunes by Jobim and Cole Porter. DownBeat said: "Signature is a collection of consummately played music that matches the six-stringer's consistently creative melody reading, soloing and comping with the supportive work of superb sidemen. Ben-Hur's original compositions are similarly impressive, from opening burner 'Mama Bee,' which dazzles with a brilliantly constructed guitar solo, to 'Eretz,' a gorgeous ballad intended as a tribute to the guitarist's native Israel that feels like an instant standard."For Anna's Dance (Reservoir, 2001), Ben-Hur convened a combo of elders: Barry Harris on piano, Charles Davis on saxophone, Walter Booker on double-bass and Leroy Williams on drums. The highlights include the debut of Ben-Hur's title composition, as well as the Billy Strayhorn ballad "A Flower Is a Lovesome Thing." In the Village Voice, Gary Giddins said: "As eloquent as a cool breeze, this understated exercise in bebop equilibrium goes down so easy that you might underestimate the magic. Ben-Hur and Charles Davis, who trades in his Sun Ra baritone for suave tenor, speak Harris's lingo like natives." Ben-Hur's kick-started his discography with two bebop showcases.Sofia's Butterfly (TCB, 1998) saw the guitarist - with drummer Leroy Williams and bassist Lisle Atkinson in tow - offering much promise; there's the ultra-fluid virtuosity of his take on Monk's "Four in One," not to mention the first appearances of his original title tune and "Fortuna." Ben-Hur made his initial splash on record with Backyard (TCB, 1996), which presented him with the Barry Harris Trio.In addition to leading his own bands, Ben-Hur has shared the stage and the studio not only with the heroes and great peers mentioned above but with the likes of Cecil Payne, Etta Jones, Marcus Belgrave, Charles McPherson, Jimmy Heath, Clark Terry, Slide Hampton, Earl May, Teri Thornton and Bill Doggett. Ben-Hur regularly performs in the top jazz venues and in major festivals across the country and around the world. As an educator, he has established jazz programs in New York City high schools, along with presenting workshops for students of all ages in the U.S. and Europe. His instructional releases include the DVD Chordability (Motéma, 2011), which offers 20 lessons on chord voicings and jazz harmony for intermediate and advanced guitarists. He also translated "the Barry Harris method" to guitar with the publication Talk Jazz: Guitar (Mel Bay, 2003), which has appeared in English and Japanese editions.Ben-Hur’s latest album is Our Thing (Motéma Music, 2012), a co-led trio project with Panamanian-born bassist Santi Debriano that also features Brazilian drummer Duduka Da Fonseca. Marked by soulful grooves, telepathic interplay and a rich, organic ensemble sound, Our Thing ranges from deeply swinging interpretations of Thelonious Monk’s “Green Chimneys” and Irving Berlin’s “Let’s Face the Music and Dance” to a pair of poetic tunes by Antonio Carlos Jobim and several beautiful originals that channel the players’ Middle Eastern, Latin and Brazilian heritages through a post-bop prism. One of Ben-Hur’s compositions is a fresh rendition of a longtime favorite in his songbook: “Anna’s Dance,” written for one of his two daughters. DownBeat called Our Thing “mesmerizing,” while New York City Jazz Record captured it colorfully: “Ben-Hur, Debriano and Da Fonseca sway with the grace of palm trees, exuding a laidback introspection.” The Buffalo News encapsulated the album by describing it as “delectable jazz internationalism of near-Olympic variety. Ben-Hur and Debriano are players of first-rate fluency and taste.”To Visit Roni Ben-Hur's website CLICK HERE

Jessica Sibelman is a composer and clarinetist who has performed and has had her works performed throughout the east coast at venues including New York's Carnegie Hall, Lincoln Center's Avery Fischer and Alice Tully Halls, CAMI Hall, Symphony Space, Philadelphia's Kimmel Center, and The Boston Symphony Orchestra Cafe. In 2004, Jessica began her clarinet performance training with Andrew Lamy, Miriam Lockhart and David Sapadin. Jessica began her composition studies under Daniel Bar-Hava at the Manhattan School of Music Precollege, where she had her orchestral and chamber works frequently featured in performances. She has had both her orchestral works and chamber music performed by the Kinhaven Music School Symphony in 2003 and 2004. Jessica continued her education at the New England Conservatory of Music with a minor in composition under Malcolm Peyton and studied clarinet with Ricardo Morales, Richard Stoltzman (chamber music), and Craig Nordstrom. In Boston, Jessica has had her music performed at venues including The New England Conservatory of Music’s Jordan Hall and Williams Hall, as well as the Boston Symphony Orchestra’s Café. Jessica was accepted into the prestigious New York Youth Symphony’s Making Score, where she studied under Derek Bermel. After the NYYS Making Score Final Concert at CAMI Hall, Jessica was mentioned in The Symphony Magazine (October, 2004) as having given “a star-turn performance” of her Clarinet Quintet. In June, 2009, Jessica made her Debut Concert at The Kaufman Center’s Merkin Concert Hall with her orchestra, The New York Chamber Virtuosi. Jessica has had a reading of her music with the American Composers' Orchestra in May 2008, and has had recent performances of her Octet at Symphony Space in 2008, and a featured performance at Galapagos Art Space in August 2009.