The Solano Winds would like to thank our donors, Solano Community College, Gordon’s Music and Sound, and the City of Fairfield for their generous support.

In the Fall of 1994, as Bob Briggs was leading the California Marching Band through his last season before his retirement, Bill Doherty suggested to him that he could fill his time in retirement by starting up a community band to conduct in Fairfield. Before becoming the Director of Bands at the University of California, Bob was the Director of the Armijo SuperBand, building a standard of excellence with that high school program. Strong high school bands in Fairfield have been around since that time, including many successful years for the Fairfield Scarlet Brigade, the Armijo Superband, the Rodriguez Entertainment Unit, and the Vanden Viking Band. What was missing was a place for adult musicians to continue to play their instruments. Bob took on the challenge, and attended Community Band workshops at the MidWest Band Clinic in Chicago that year. In the summer of 1995, a group of musicians gathered to discuss the possibility of putting together such a group, and two months later, 40 band musicians gathered at Fairfield High School for the first rehearsal of the Solano Winds. One week after that first rehearsal of October 5, 1995, over 50 musicians from seven counties were with the band to prepare for our first performance at Will C. Wood High School in December. Since that enthusiastic beginning, the band has regularly fielded a band of 45-70 members to perform a number of concerts throughout the year. Each year, the band has prepared four formal programs, and has also performed at events such as the Fourth of July Fireworks Show in Suisun, regular concerts at Paradise Valley Estates, and an annual appearance in the Carmichael Park Community Band Festival each June. The band has grown organizationally from our beginnings as well - starting with $500 grants from Gordon's Music and Sound and the Fairfield Scarlet Brigade Boosters in 1995, we now enjoy funding from a growing number of donors. Bill Doherty took the baton as Music Director for the band after Bob Briggs passed away in September 2008. The purpose of the band remains as how it started - to perform high quality band literature well, and to have fun doing it!

Our generous donors are the key to our successful community band. Ticket revenues make up less than 30% of our overall budget, and your help is always needed! Your tax deductible donation will help us in expanding our music library, commissioning a concert piece to be composed for our band, purchasing and renting musical instruments and equipment, and sponsoring guest artists at our performances.

Becoming an Admirer, Devotee or Enthusiast means you receive membership benefits. Help us spread the sound of fine concert band music throughout our community!

Admirers: $25-$99 Two concert vouchers

Recognition of gift in concert program

Devotees: $100-$249 Four concert vouchers

Recognition of gift in concert program

Enthusiasts: $250 and up Eight concert vouchers

Recognition of gift in concert program

Concert Sponsor: $1,500 Corporations or individuals may sponsor a concert; names will be prominently displayed in advertisements and concert programs. A commemorative plaque is included. Please contact bandinfo@solanowinds.org for more information.

Contributions may be sent to: Solano Winds PO Box 722 Fairfield, CA 94533-0072

We rehearse Tuesdays from 7:00 to 9:30 in the Solano Community College Band Room (room 1245), 4000 Suisun Valley Road, Fairfield, from late August through early June. If you play a band instrument, you are welcome to join us. Band musicians of all abilities are welcome!

For more information, send an email to bandinfo@solanowinds.org, or visit our website at www.solanowinds.org.

Solano Winds Community Concert Band www.solanowinds.org

A merican music of the 1920’s to 1940’s is celebrated tonight through the lens of two musical geniuses: George Gershwin and Percy Grainger. While their music shares a familiarity with today’s audiences, both composers broke new ground in their own ways.

George Gershwin mastered the twin genres of “popular” and “classical” music. The Gershwin “songbook” has been sung by virtually every important jazz vocalist, and scores of his tunes are considered “standards” in the repertoire. At the same time, his classical works introduced new sounds into that arena, and many are now likewise “classics”.

Percy Grainger, while perhaps less widely known to casual audiences, was a giant of a composer. He was particularly adept at adapting local folk tunes in a variety of instrumental combinations. Grainger himself was a virtuoso pianist, and in some ways led a troubled and controversial life. But his music was pure genius, especially his unique orchestration techniques and his magnificent use of texture.

Every piece tonight was selected from Gershwin’s and Grainger’s works of 1921 to 1948. Please enjoy these American classics!

Bill Doherty Music Director, Solano Winds Community Concert Band

-- In 1994, as Bob Briggs was beginning his last year before retirement as Director of the University of California Band, Bill Doherty suggested to him that they start a community band in Fairfield. A year later, that vision became a reality as Bob founded Solano Winds. Bill served as the first President of the group and helped to formalize the behind-the-scenes workings of the band while playing principal trumpet. Upon the passing of Robert O. Briggs in September 2008, Bill was named Music Director of Solano Winds.

Bill played in the Cal Band under Bob’s leadership while earning his Bachelor of Arts in Music from the University of California at Berkeley. He taught band for eleven years, including a three-year stay at Vanden High School, before adding mathematics to his teaching credential. In addition to his high school bands, Bill conducted the Berkeley Symphonic Band from 1985 to 1989. Currently, he teaches mathematics and assists teachers in their use of instructional technology at Campolindo High School in Moraga. He lives in Fairfield with his wife, Jennifer, who teaches music in Fairfield and plays percussion in Solano Winds, and his daughter Emily, who plays oboe and English Horn in Solano Winds. The elder Doherty children are students at the University of Oregon and UCLA.

Join us for more DUOS! 5/18/2012 : Stage & Screen

Guest Artists: Eric Seiler, Tenor Melanie Seiler, Soprano

Fairfield Center for Creative Arts 1035 West Texas Street, Fairfield

Tickets: $12 Adults/$8 Students & Seniors Online at www.solanowinds.org

Phone orders: (707) 428-7714 Fairfield Community Center

FCCA Box Office All online and phone orders are assessed a convenience fee.

The City of Fairfield assesses a $2 facility fee on all FCCA events.

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Strike Up The Band.…...……………………………..….....Music by George Gershwin Lyrics by Ira Gershwin

Arranged by Leonard Moss

Handel in the Strand ........…….………………………..…….Percy Aldridge Grainger Arranged by Keith Brion and Loras J. Schissel

Let’s Call the Whole Thing Off ……………………….…...Music by George Gershwin Lyrics by Ira Gershwin

Arranged by Bill Doherty Elaine Lucia and Jeff Oster, Vocals

Colonial Song……………………………………..………...…Percy Aldridge Grainger Edited by Timothy Topolewski

Porgy and Bess - Selection..……..……………………………..……George Gershwin Arranged by Robert Russell Bennett

The Symphonic Gershwin ………………………………………..… George Gershwin Arranged by Warren Barker

INTERMISSION

A Tribute to Grainger……………………………………..…..Percy Aldridge Grainger

Arranged by Chalon L. Ragsdale 1. Country Gardens

2. Mo Nighean Dubh 3. “The Gypsy’s Wedding Day”

They Can’t Take That Away From Me …………………....Music by George Gershwin Lyrics by Ira Gershwin

Jeff Oster, Vocals

But Not For Me ….……….……………………………......Music by George Gershwin Lyrics by Ira Gershwin

Arranged by Warren Barker Elaine Lucia, Vocals

The Immovable Do ……….………...…………....……..…...Percy Aldridge Grainger

Gershwin! ………………………………………………….Music by George Gershwin Lyrics by Ira Gershwin, B.G. DeSylva, and Ballard MacDonald

Arranged by Warren Barker

Shepherd’s Hey! …………………………………………..…. Percy Aldridge Grainger Arranged by Loras J. Schissel

Virginia Tracy Otto and Elly Vasak Wayne Walker Marianne and M.L. “Swede” Walleen Mary Westergaard Edwin, Rosalee and Joanna Wheeler Joan L. White Mary Gay and Sid Whiting Elise Wigton Liz and Marty Wildberger Ruth A. Wolfe R.W. and D.L. Young Catherine Zimmerman Admirer ($25 - $99) Janice and Al Abrams John and Jean Adamo Murray and Zella Bass Patricia Benacquista Paul Bidinger Lucy Bonnett Sally Bowen Pat Brausch Dick and Bette Brown Gaylon and Vickie Caldwell Dick and Patricia Cartwright Jane Cypra Ted and Nancy Demosthenes Bill and Ann Farber Drake Rick Drewrey Manuel and Inia Escano Lloyd and Florence Espen John and Sally Ferejohn Eleanor Ford Joel and Barbara Gillespie Alyce Gilson Marion Graff Patricia L. Hale John and Loretta Hanley Babette Henkle Gigi Horton, State Farm Insurance Farley and Pegi Howell Marjorie M. Hyslop Hal and Madeline Jacobs John and Jeanne Kersten

Kenneth and Layna Kinsman Phil and Gloria Knebel “H.M” and Al Kocher Julia Kordes Delfina Kruge Maureen Lahiff Lynn Lippstreu Isabella Z. Lively Mary E. Longland Jean and Riva Mayers Jay E. McGee Mike and Jeanne Michael Helen Morin Susan Myers Carole O’Hara Mr. and Mrs. Chester Petersen Mark and Erin Proudfoot Jeanne Reavis Richard and Barbara Rimmer Wilma Romary Esther Rowland Emily Rued John W. Sarrelee Betty B. Schaefer Paul and Elaine Schmidt Gina Schneider Robert S. Schumack Bonnie and Ron Slusarz Jim Sokoloski Carol Solomon Michael Somers Jack and Carla Sorrelle Betty St. George Rudy Stubbs Geri Surber Frank and Betty Thomas Juliette Thomas Scott and Geri Vasak Nelda Wagner Sharon Walton, Walton’s Music Studio George and Nelda Wagner Pat and Tom Winburn Lorraine J. Wolfe Donald and Marie Wong Stephen Yoo Ralph and Daisy Young

John and Susan Coleman Peg Cutshall Nora Del Ross Cecelia Doherty Glenn and Marybeth Dow Carol Dugger Dick and Jan Feaster Phil and Dinny Fisher John and Charlotte Gearhart The Gibson Family, in memory of Gordon Gibson Patricia Glover Mary K. Grindle William and Constance M. Gum Sara and Ernest Haas Sue and Earl Handa Mr. and Mrs. Leonard Hartnett Bob and Terry Keck Jack and Dorothy Lindeman Eva M. Linn Ed and Garnet Lopez Clyde V. Martin, M.D. Thomas A. Martin, Jr. Walt and Esther McDaniel Barbara G. McKee Betty McMurry Don and Jean Meehan Joseph and Stephanie Mestas Wally and Pat Mitchell Doris and Frank W. Mize Kathleen Nye Barbara Palmer Bob and Barbara Pelascini John and Jean Peters Stephen and Cathy Pierce Myrlee Potosnak Betty and Bill Rawlinson Joe and Connie Regner Fred and Lee Schaffer Robert and Marsha Sergeant Diane Snow Jack and Carla Sorrelle Lacey and Rob Thayer

Concert Sponsors ($1,500 - Up) DeLong-Sweet Family Foundation Residents Council, Paradise Valley Estates

Jelly Belly Candy Company

Enthusiast ($250 – $1,499) Linn and Mona Benson Edna Biederman, in memory of Capt. USN, Jack Biederman

Gay Bowen, in memory of BGen, USMCR Russ Bowen

Vern and Jean Buskirk Ernest “Bud” Card Pat and Dan Child Bruce Conhain Spike and Betty Flertzheim Richard and Carla Grokenberger The Horton Family William and Doneyn Johnson Mary Kelley Dr. and Mrs. Raymon Lawton Duncan Miller Carol Moore Gloria Nemson Bob and Barbara Pelascini Adrian and Nancy Pastori Everett and Jean Riehl Bill and Elaine Smith Steve and Helen Tilley Barbara and Jim Tutt George Yeoman

Devotee ($100 - $249) David and Barbara Allard Bruce and Nancy Bartels Carol and Paul Bergerot Richard and Judith Blakemore Dorothee Brown Sondra Pike Browning John and Jetta Burnett Bill and Gerry Coghill Patricia D. and John A. Cole

Strike Up The Band Strike Up The Band is the title song for a musical interpretation of George S. Kaufman’s satire about a proud American owner of a cheese factory who is outraged when Switzerland protests a tariff on imported cheese and convinces the US government to declare a war he would finance. George and Ira Gershwin saw this as an opportunity to write in the style of W.S. Gilbert and Arthur Sullivan. The 1927 production never made it out of Philadelphia, as political satire was a hard sell even in an operetta style. The inevitable boy-meets-girl story did produce the classic love song “The Man I Love.”

In 1936, UCLA students were looking for a new rally tune. George and Ira Gershwin had moved from New York to Beverly Hills to work in Los Angeles on the Fred Astaire movie Shall We Dance. Maxson Judell, a music industry contact, approached them about contributing a song to UCLA. The Gershwins made a gift of the song to the University of California, Los Angeles. Ira Gershwin revised the lyrics and called the new version "Strike Up the Band for UCLA." From that time, it became one of the primary school songs. The UCLA Band currently plays an arrangement of "Strike Up the Band for UCLA" as part of each UCLA Bruins football pregame show and at home basketball games

Handel in the Strand This composition was originally titled Clog Dance. A close friend of Grainger’s, William Gair Rathbone (to whom the piece is dedicated), suggested the new title because the music seemed to reflect both Handel and English musical comedy—the Strand in London is a street which is the home of English musical comedy. According to Grainger, his composition sounded “as if old Handel were rushing down the Strand to the strains of modern English popular music.” Grainger said the piece was inspired by his delight on returning to the exhilarating sea climate of Holland after concerts further inland.

Let’s Call the Whole Thing Off Let's Call the Whole Thing Off is a song written by George Gershwin and Ira Gershwin for the 1937 film Shall We Dance where it was introduced by Fred Astaire and Ginger Rogers as part of a celebrated dance duet on roller skates. The song is most famous for its “You like to-may-toes and I like to-mah-toes” and other verses comparing their different regional dialects.

Among the notables who have recorded the song are Astaire & Rogers, Bing Crosby & Rosemary Clooney, Ella Fitzgerald & Louis Armstrong, Patty Austin & Gregory Hines, Harry Connick, Brian Wilson, The Ink Spots, Oscar Peterson, Billie Holiday, Sarah Vaughan, Mel Tormé, André Previn, Earl “Fatha” Hines, Joe Henderson, and many others.

Colonial Song Grainger used no traditional tunes in this piece which was written for and about the people in his native Australia. He expressed the wish to “voice a certain kind of emotion that seems to me not untypical of native-born colonials in general.” Concerning colonials, Grainger wrote the following: “Perhaps it is not unnatural that people living more or less alone in vast virgin

countries and struggling against natural and climatic hardships (rather than against the more actively and dramatically exciting counter-wills of the fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twain’s Huckleberry Finn and in Stephen Foster’s songs. I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression) which are also reflected here.”

Porgy and Bess - Selection Gershwin’s folk opera Porgy and Bess climaxed his brief but spectacular career as both a popular and serious work. He had read DuBose Heyward’s Porgy in 1926 and was immediately interested in transforming the novel into an opera, but it was almost eight years before arrangements were completed for Gershwin to begin writing the music. It was first performed by the Theatre Guild in Boston and New York in 1935 by an all-negro cast, with Todd Duncan as Porgy and Anne Brown as Bess. The opera ran 124 performances in New York, a flop by Broadway standards. However, it was revived in 1942, almost five years after Gershwin’s death, and the show had the longest run of any revival in Broadway musical history. Between 1952 and 1956, Porgy and Bess toured the major cities around the globe, including those behind the Iron Curtain, and in 1959 was made into a lavish movie starring Sidney Poitier, Dorothy Dandridge, and Sammy Davis, Jr. During all of the presentations for its first 40 years of existence the show was never given in its entirety. Finally, in 1975, it was presented completely in a concert format in Cleveland, and the following year was given its first complete stage presentation by the Houston Grand Opera Company.

This arrangement by Robert Russell Bennett, one of Hollywood’s most talented and prolific orchestrators, includes Summertime, A Woman Is a Sometime Thing, I Got Plenty o’ Nuttin’, Bess You Is My Woman, It Ain’t Necessarily So, Picnic Parade, and Oh Lawd I’m On My Way.,

The Symphonic Gershwin One measure of Gershwin’s genius was his ability to bridge any gaps between popular and classical music. The Symphonic Gershwin features music from three of his most popular symphonic works: Rhapsody in Blue, An American in Paris, and Cuban Overture.

In November 1923, Bandleader Paul Whiteman asked Gershwin to contribute a concerto-like piece for an all-jazz concert he would give in February 1924. By the time Gershwin accepted the commission in January, there were only five weeks remaining until the concert. He told his biographer:

Baritone Saxophone Teri Lynn Caughie (911 Dispatch Supervisor) Cliff Gordon (Sales)

Horn in F Linn Benson (Retired Air Force Officer/Business Owner) Monica Erkenoff (Student) Arthur Mestas (High School Student) Glenn Nash (Psychiatric Technician) Mark Stephens (Natural Gas Production) Jim Tutt (Retired Teacher)

Trumpet Haley Armstrong (Conductor/Commander, USAF Band) Bob Bacchus (Music Teacher) Cristine Fisher (Freelance Musician/Private Lesson Teacher) Kenneth Flask (Technical Services Manager) Heather Handa (Science Teacher) Jack Hanes (Music Teacher) Gary Henry (Attorney) Chip Miller (Manufacturing Sales Representative) Joe Regner (Retired Engineer) Dean Tomek (Retired Music Teacher)

Trombone David Blauer (Chef) Bob Evans (High School Principal) Larry Knowles (Retired Gas Engineer, Swing Band Leader) Glen Lienhart (Musician) Kim McCrea (Domestic Engineer)

Euphonium Delbert Bump (Music Educator) Ray Cabral (Programmer/Analyst)

Tuba Dick Grokenberger (Retired Army/Teacher) Tim Mack (Retired Music Educator/Administrator)

String Bass Tracy Popey (Orthopedic Surgeon, USAF) Percussion Jennifer Doherty (Music Educator) Philip Doty (Retired Teacher/U.S. Mint) Cristine Fisher (Freelance Musician/Private Lesson Teacher) Neil Gould (Government Attorney) Candis Hanson (Park Ranger) Hannah Lee (Student) Nicholas Martens (Student) Lesleeann Reynoso (Community Services Coordinator)

Timpani Wally Hunt (Band Director)

It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise... And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of

Conductor Bill Doherty (Math/Technology Teacher)

Flute Alexé Anderson (Instructor) Bill Aron (Musician) Hannah Lee (Student) John Lopez (Music Major/Student) Mercedes Medina (Molecular Biology Student) Cathy Pierce (Teacher) Danielle Renville (Nutrition Assistant) Robert Roozendaal (Professional Animal Trainer) Christine Shoemaker (Plant Pathologist) Leslie Williams (Student)

Piccolo John Lopez (Music Major/Student) Christine Shoemaker (Plant Pathologist)

Oboe Emily Doherty (Student) Candis Hanson (Park Ranger) Tracy Popey (Orthopedic Surgeon, USAF)

Clarinet Rosie Aron (Special Education Aide) Sean Barrett (Student) Jan Groth (Educator) Michelle Johnson (US Air Force Registered Nurse) Pam Nadeau (Band Director) Eric Seiler (U.S. Army Musician) Andrew Smith (Student) Inga Soule (Accounting, SFSU) Jimmy Toor (Student) Otto Vasak (Retired Chemical Engineer)

Bass Clarinet Russ Grindle (Teacher) Deborah Johnson (Parole Administrator)

Bassoon Rafael Figueroa (Sales Supervisor) Davis Fischer-Walker (Student)

Soprano Saxophone Bill Aron (Musician)

Alto Saxophone Samantha Johnson (Science/Music Teacher) Marcus Mills (English/AVID Teacher) Stephen Yoo (Student)

Tenor Saxophone Evie Ayers (Arts Administrator) Joe Rico (Telecommunications Staff Engineer)

Rhapsody in Blue premiered on February 12, 1924, with the Whiteman Band performing and with Gershwin at the piano. In the audience were John Philip Sousa and Sergei Rachmaninoff.

When Gershwin met Maurice Ravel in New York during Ravel’s tour of the United States, Gershwin asked Ravel to be his teacher. Ravel responded that it was better to be a first-rate Gershwin than a second-rate Ravel. He instead recommended that Gershwin see Nadia Boulanger in Paris. Largely because of Ravel’s high praise, Gershwin arrived in Paris in March 1928. After playing ten minutes of his music for Boulanger, she replied that she had nothing to teach him. This was not a setback for Gershwin, though, as his true intent for going abroad was to complete a new work based on Paris. Gershwin explained, “My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.”

Originally titled Rumba, the Cuban Overture was a result of a two-week holiday which Gershwin took in Havana, Cuba, in February 1932. He composed the overture in July and August of 1932. The piece is dominated by Caribbean rhythms and Cuban native percussion, with a wide spectrum of instrumental color and technique.

A Tribute to Grainger Grainger corresponded with Cecil James Sharp for almost twenty years on the topic of their shared interest in folk-music collecting. Early in 1908, Grainger had sketched chamber music settings of two of the Morris dance tunes collected by Sharp in 1906. Country Gardens, the best known of all Grainger’s settings of English folksong, was sketched out for whistlers and a few instruments in 1908. That version was set aside until 1918, when it was redone for piano solo. For many years the piano version of Country Gardens was the best selling item in the Schott and Schirmer catalog. Grainger arranged the piece for military band in the 1950’s, but thought it undeserving of attention compared to the more traditional version done by John Philip Sousa and Tom Clark.

Two years before his masterpiece Irish Tune from County Derry, Grainger wrote Mo Nighean Dubh for chorus, displaying much the same intuitive harmonic sense. In the last decade of his life, he returned to this wonderful piece to create a more dissonant version for piano solo. The selection has something of an autobiographical quality to it, including the sounds of bells from grazing cattle.

The Gypsy’s Wedding Day was in the repertoire of many of the Lincolnshire singers whose songs Grainger recorded and noted. His setting has a delightful madrigal-like quality. The tuneful percussion are featured, as is appropriate—the words, after all, are “The bells they shall ring merrily and sweet the music play.”

They Can’t Take That Away From Me A second selection this evening from the film Shall We Dance, They Can’t Take That Away From Me was written in 1937 and performed in the film by Fred Astaire on the foggy deck of the ferry from New Jersey to Manhattan. It is sung to Ginger

musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.

played in many bands and ensembles ranging from concert and marching bands to jazz and big bands. She also developed her acting abilities in local musical theater productions such as Once Upon a Mattress, Rent, and Gypsy. In addition to her father, Cristine studied with at least ten other trumpet mentors. Cristine enlisted in the Air Force Band at Carswell Field in Fort Worth, TX and later moved to Cheyenne, WY where she continued to serve as an active duty member of the Wyoming Air National Guard. She deployed to Southeast Asia where she performed a wide array of duties. While deployed she got an opportunity to sing and play trumpet in two popular music ensembles – touring with them to Kuwait, Afghanistan, and Iraq. In 2009, Cristine moved to northern California where she finished her term in the Air Force as a Staff Sergeant in the Band of the West Coast in Mountain View, CA. Her life changed when she met Geoffrey Fisher, who was a vocalist with the AF Band of the Golden West. They were married in Dallas, TX in November, 2010. Cristine now has the pleasure of being a stepmom to two beautiful girls, Kaitlynn and Mackenzie. Cristine likes to mountain bike, write and record music, socialize, plus participate in many other activities. Currently, the Fishers reside in Vacaville, CA, but not for long. This coming July, she and her husband will be moving to an AFB near Tokyo, where she plans to continue with her music, wear kimonos, and eat a lot of sushi.

Rogers, and very unusually, Astaire and Rogers did not follow the piece with a dance sequence. Later, though, in their last movie, The Barkleys of Broadway, they did dance to it as they played a married couple with marital issues. The song has been recorded by singers from Frank Sinatra to Rod Stewart.

But Not For Me But Not For Me was penned by the Gershwin brothers in 1930 for their musical Girl Crazy. Ginger Rogers sang it in the original production, and Judy Garland sang it for the film version in 1943. Among other films that have used the song are Woody Allen’s Manhattan and Rob Reiner’s When Harry Met Sally. Recordings of the piece have been made by Billie Holiday, Chet Baker, Joshua Bell, Carol Burnett, Bobby Darin, Miles Davis, Sammy Davis Jr, Doris Day, Ella Fitzgerald, Judy Garland, John Coltrane, Rosemary Clooney, Linda Ronstadt, Elvis Costello, Elton John, Frank Sinatra, Rod Stewart, Sarah Vaughn, and Dinah Washington, to name just a few!

The Immovable Do Grainger wrote:

Gershwin! George Gershwin possessed a gift for composing works with a distinctive melody that has hardly ever been equaled. Fascinating Rhythm, from "Lady be Good" (1924), starts off this enjoyable medley of his earlier tunes arranged by well known composer and Hollywood arranger, Warren Barker (b. 1923). The 1930 production of "Girl Crazy" gives us the next number, Embraceable You and the finale I Got Rhythm. Somebody Loves Me was a contribution to "George White's Scandals of 1924." The romantic theme is continued with Someone to Watch Over Me from "Oh Kay" (1926).

Shepherd’s Hey! The air on which Shepherd’s Hey! is based was collected by Cecil J. Sharpe. In some agricultural districts in England teams of “Morris Men,” decked out with jingling bells and other finery, can still be seen dancing to such traditional tunes as Shepherd’s Hey!, which are played on the fiddle or on the “pipe and tabor” (a sort of fife and drum).

The Immovable Do (composed 1933-1939) draws its title from one of the two kinds of Tonic Sol-fa notation, one with a “movable Do” (“Do” corresponding to the key-note of whatever key the music is couched in, from moment to moment; so that the note designated by “Do” varies with modulation) and the other with an “immovable Do” (in which “Do” always stands for C). In my composition—which is not based on any folksong or popular tune—the “immovable Do” is a high drone on C which is sounded throughout the whole piece. From the very start (in 1933) I conceived the number for any or all of the following mediums, singly or combined: for organ (or reed organ), for mixed chorus, for wind band or wind groups, for full or small orchestra, for string orchestra or 8 single strings. It seemed natural for me to plan it simultaneously for these different mediums, seeing that such music hinges upon intervalic appeal rather than upon effects of tone-color.

E����� L����E����� L����——V�����V����� Elaine Lucia has a beautiful, high and clear voice that is versatile, quite powerful and perfectly fits her swinging style. “My goal has always been to be as great a singer as I can and really master my instrument, to soak songs with emotion while singing in a simple and straightforward style. I don’t want to sound like anyone but myself.” One listen to any of Elaine’s three CDs shows that she has already accomplished that goal and is a memorable jazz singer. She was raised in upstate New York, and was very impressed at the age of four when she saw Judy Garland and Barbara Streisand singing “Happy Days Are Here Again” on Garland’s television show. “I remember thinking: ‘I want to do that!’” When she was 12, Elaine discovered Ella Fitzgerald and that was soon followed by Peggy Lee and Lorez Alexandria. “I like singers who are powerful, musically emotive, with clean, clear tones. I was as amazed by the quality of Ella’s voice as I was of her virtuosity.” Elaine performed her first solos in seventh grade with her school choir, started singing with her choir teacher’s jazz trio on weekends when she was 13, and taught herself guitar. “I simply wanted to be ‘a great singer’, so I begged my father for voice lessons and started studying opera when I was 15. The training helps me to this day, allowing me the vocal stamina to sing seven nights a week, if I had to, without tiring or harming my vocal instrument. The classical training also helped me win auditions and carried me through the many musical theater productions, rehearsals and shows I was in during my teen years.” Elaine won a summer scholarship to attend the Chautauqua Institute for the Arts and, after graduating early from high school, received a theater scholarship to the State University of New York at Binghamton (now Binghamton University). She soon switched her focus from theater back to music. Two years later, Elaine transferred to the Eastman School of Music on a vocal scholarship but, when the Reagan administration drastically cut back on college grants, she was unable to attend her fourth year of college. “I decided to take a year off from school and go to northern California. Within a month I was singing in a rock band and recording background vocals with a country group, and I never did get the money to go back to music school. I still dream about it!”

J��� O����J��� O����——V�����V����� Jeff Oster was born in San Francisco, California. His jazz roots run deep. Coming from a musical family, Jeff has been singing and playing trumpet since he was eight years old. His parents were both performers. His mother was a big band vocalist and his father was a jazz composer, arranger, music educator, and multi-instrumentalist. His uncle Otto played trombone in the Las Vegas show bands for more than 40 years. Jeff has been lead vocalist and has played trumpet, flugelhorn, and flute with several bands in the San Francisco Bay Area over the years. After taking a long, nearly twenty-year, break from the music scene to raise his family, Jeff has returned to performing jazz. Since his return, he has performed exclusively as a vocalist, featured with the Peter Welker Sextet. "I feel so fortunate to be in the company of so many wonderful musicians. The guys in the band are always world class. I'm having a gas! I feel right at home," says the beaming Oster. Jeff Oster uses his voice like an instrument, as evidenced by his unique scat style. "I approach the melody and scatting as if I were playing it on the horn. In regards to the melody or chorus of a given song, I always want to make sure the words - of the story - are clearly understood. Being predominately a "note" guy for so long, I've made great efforts to enunciate and communicate the lyric. It's always been a tug-of-war between words and music for me, and a bit of a challenge at times... . But, hey, it's JAZZ and I'm having fun! What a high! There's nothing like it." Jeff has performed and/or recorded with Chris Amberger, Johnny Bamont, Matt Clark, Kevin Dillon, Barry Finnerty, Kendrik Freeman, Bennett Friedman, Frank Haggerty, Terry Haggerty, Tim Haggerty, Cliff Hugo, Manny Klein, Pete Levin, Mark Levine, Fred Lipsius, Mel Martin, David K. Mathews, Al Molina, Scott Petersen, Rob Roth, Jim Rothermel, Andrew Speight, Randy Vincent, Bill Watrous, Peter Welker, and Dan Zemelman.

played in many bands and ensembles ranging from concert and marching bands to jazz and big bands. She also developed her acting abilities in local musical theater productions such as Once Upon a Mattress, Rent, and Gypsy. In addition to her father, Cristine studied with at least ten other trumpet mentors. Cristine enlisted in the Air Force Band at Carswell Field in Fort Worth, TX and later moved to Cheyenne, WY where she continued to serve as an active duty member of the Wyoming Air National Guard. She deployed to Southeast Asia where she performed a wide array of duties. While deployed she got an opportunity to sing and play trumpet in two popular music ensembles – touring with them to Kuwait, Afghanistan, and Iraq. In 2009, Cristine moved to northern California where she finished her term in the Air Force as a Staff Sergeant in the Band of the West Coast in Mountain View, CA. Her life changed when she met Geoffrey Fisher, who was a vocalist with the AF Band of the Golden West. They were married in Dallas, TX in November, 2010. Cristine now has the pleasure of being a stepmom to two beautiful girls, Kaitlynn and Mackenzie. Cristine likes to mountain bike, write and record music, socialize, plus participate in many other activities. Currently, the Fishers reside in Vacaville, CA, but not for long. This coming July, she and her husband will be moving to an AFB near Tokyo, where she plans to continue with her music, wear kimonos, and eat a lot of sushi.

Rogers, and very unusually, Astaire and Rogers did not follow the piece with a dance sequence. Later, though, in their last movie, The Barkleys of Broadway, they did dance to it as they played a married couple with marital issues. The song has been recorded by singers from Frank Sinatra to Rod Stewart.

But Not For Me But Not For Me was penned by the Gershwin brothers in 1930 for their musical Girl Crazy. Ginger Rogers sang it in the original production, and Judy Garland sang it for the film version in 1943. Among other films that have used the song are Woody Allen’s Manhattan and Rob Reiner’s When Harry Met Sally. Recordings of the piece have been made by Billie Holiday, Chet Baker, Joshua Bell, Carol Burnett, Bobby Darin, Miles Davis, Sammy Davis Jr, Doris Day, Ella Fitzgerald, Judy Garland, John Coltrane, Rosemary Clooney, Linda Ronstadt, Elvis Costello, Elton John, Frank Sinatra, Rod Stewart, Sarah Vaughn, and Dinah Washington, to name just a few!

The Immovable Do Grainger wrote:

Gershwin! George Gershwin possessed a gift for composing works with a distinctive melody that has hardly ever been equaled. Fascinating Rhythm, from "Lady be Good" (1924), starts off this enjoyable medley of his earlier tunes arranged by well known composer and Hollywood arranger, Warren Barker (b. 1923). The 1930 production of "Girl Crazy" gives us the next number, Embraceable You and the finale I Got Rhythm. Somebody Loves Me was a contribution to "George White's Scandals of 1924." The romantic theme is continued with Someone to Watch Over Me from "Oh Kay" (1926).

Shepherd’s Hey! The air on which Shepherd’s Hey! is based was collected by Cecil J. Sharpe. In some agricultural districts in England teams of “Morris Men,” decked out with jingling bells and other finery, can still be seen dancing to such traditional tunes as Shepherd’s Hey!, which are played on the fiddle or on the “pipe and tabor” (a sort of fife and drum).

The Immovable Do (composed 1933-1939) draws its title from one of the two kinds of Tonic Sol-fa notation, one with a “movable Do” (“Do” corresponding to the key-note of whatever key the music is couched in, from moment to moment; so that the note designated by “Do” varies with modulation) and the other with an “immovable Do” (in which “Do” always stands for C). In my composition—which is not based on any folksong or popular tune—the “immovable Do” is a high drone on C which is sounded throughout the whole piece. From the very start (in 1933) I conceived the number for any or all of the following mediums, singly or combined: for organ (or reed organ), for mixed chorus, for wind band or wind groups, for full or small orchestra, for string orchestra or 8 single strings. It seemed natural for me to plan it simultaneously for these different mediums, seeing that such music hinges upon intervalic appeal rather than upon effects of tone-color.

In each program we feature profiles on two of our players, written by Otto Vasak, board member, retired chemical engineer, and long time player in Solano Winds.

JOHN COLEMAN

Although John Coleman is not an instrumentalist with the Solano Winds, he is on the Band’s Board of Directors as a Member at large. He is deeply involved in volunteer work and has a special interest in music. He was born in Oakland, CA in 1940 and lived in many parts of the country because his father had a career with the Coast Guard. After attending many different schools, John graduated from High School in Parlier, CA.

Although John attended UC Berkeley for a while, he graduated from the University of the Pacific (UOP) in Stockton with a Bachelor of Arts degree. Later he received a Teaching Credential from Sonoma State University and a Library Sciences Credential from Sacramento State. John’s wife, Susan, also graduated from UOP with a Teaching Credential.

During the Vietnam “conflict”, John served in the Air Force as an aircraft maintenance officer. After Vietnam, he worked as a salesman for National Cash Register. When he received his teaching credential, he went to work for the Travis Unified School District in Fairfield for 35 years. He taught high school English and speech – and later became a librarian at various levels in the district.

Currently John volunteers with three different organizations: the Western Railway Museum, the Solano County Library Advisory Board, and the Solano Winds. He also helps the San Fransico Golden Gate Park Band when he can. Most of John’s hobbies have a connection with music, and he enjoys doing some recording and production of CD’s for Travis school groups and other amateur groups in the area.

The Coleman’s two sons have families of their own. Both sons have gone through the music programs of the Fairfield schools – and continue as amateur musicians.

CRISTINE FISHER

Cristine Sharp Fisher is a relatively new member of the Solano Winds trumpet section. She was born in Garland, Texas and spent her childhood in Kaufman, TX. Most of her early musical training was obtained from her very musical family. Her mother taught her theory and piano, while later her father gave her instruction on the trumpet. Cristine’s father continued to be her private teacher and band director through two different high schools in the Dallas area and continues as her teacher to the present day.

After high school graduation, Cristine attended the University of North Texas School of Music where she majored in trumpet performance and education. She

countries and struggling against natural and climatic hardships (rather than against the more actively and dramatically exciting counter-wills of the fellow men, as in more thickly populated lands) should run largely to that patiently yearning, inactive sentimental wistfulness that we find so touchingly expressed in much American art; for instance in Mark Twain’s Huckleberry Finn and in Stephen Foster’s songs. I have also noticed curious, almost Italian-like, musical tendencies in brass band performances and ways of singing in Australia (such as a preference for richness and intensity of tone and soulful breadth of phrasing over more subtly and sensitively varied delicacies of expression) which are also reflected here.”

Porgy and Bess - Selection Gershwin’s folk opera Porgy and Bess climaxed his brief but spectacular career as both a popular and serious work. He had read DuBose Heyward’s Porgy in 1926 and was immediately interested in transforming the novel into an opera, but it was almost eight years before arrangements were completed for Gershwin to begin writing the music. It was first performed by the Theatre Guild in Boston and New York in 1935 by an all-negro cast, with Todd Duncan as Porgy and Anne Brown as Bess. The opera ran 124 performances in New York, a flop by Broadway standards. However, it was revived in 1942, almost five years after Gershwin’s death, and the show had the longest run of any revival in Broadway musical history. Between 1952 and 1956, Porgy and Bess toured the major cities around the globe, including those behind the Iron Curtain, and in 1959 was made into a lavish movie starring Sidney Poitier, Dorothy Dandridge, and Sammy Davis, Jr. During all of the presentations for its first 40 years of existence the show was never given in its entirety. Finally, in 1975, it was presented completely in a concert format in Cleveland, and the following year was given its first complete stage presentation by the Houston Grand Opera Company.

This arrangement by Robert Russell Bennett, one of Hollywood’s most talented and prolific orchestrators, includes Summertime, A Woman Is a Sometime Thing, I Got Plenty o’ Nuttin’, Bess You Is My Woman, It Ain’t Necessarily So, Picnic Parade, and Oh Lawd I’m On My Way.,

The Symphonic Gershwin One measure of Gershwin’s genius was his ability to bridge any gaps between popular and classical music. The Symphonic Gershwin features music from three of his most popular symphonic works: Rhapsody in Blue, An American in Paris, and Cuban Overture.

In November 1923, Bandleader Paul Whiteman asked Gershwin to contribute a concerto-like piece for an all-jazz concert he would give in February 1924. By the time Gershwin accepted the commission in January, there were only five weeks remaining until the concert. He told his biographer:

Baritone Saxophone Teri Lynn Caughie (911 Dispatch Supervisor) Cliff Gordon (Sales)

Horn in F Linn Benson (Retired Air Force Officer/Business Owner) Monica Erkenoff (Student) Arthur Mestas (High School Student) Glenn Nash (Psychiatric Technician) Mark Stephens (Natural Gas Production) Jim Tutt (Retired Teacher)

Trumpet Haley Armstrong (Conductor/Commander, USAF Band) Bob Bacchus (Music Teacher) Cristine Fisher (Freelance Musician/Private Lesson Teacher) Kenneth Flask (Technical Services Manager) Heather Handa (Science Teacher) Jack Hanes (Music Teacher) Gary Henry (Attorney) Chip Miller (Manufacturing Sales Representative) Joe Regner (Retired Engineer) Dean Tomek (Retired Music Teacher)

Trombone David Blauer (Chef) Bob Evans (High School Principal) Larry Knowles (Retired Gas Engineer, Swing Band Leader) Glen Lienhart (Musician) Kim McCrea (Domestic Engineer)

Euphonium Delbert Bump (Music Educator) Ray Cabral (Programmer/Analyst)

Tuba Dick Grokenberger (Retired Army/Teacher) Tim Mack (Retired Music Educator/Administrator)

String Bass Tracy Popey (Orthopedic Surgeon, USAF) Percussion Jennifer Doherty (Music Educator) Philip Doty (Retired Teacher/U.S. Mint) Cristine Fisher (Freelance Musician/Private Lesson Teacher) Neil Gould (Government Attorney) Candis Hanson (Park Ranger) Hannah Lee (Student) Nicholas Martens (Student) Lesleeann Reynoso (Community Services Coordinator)

Timpani Wally Hunt (Band Director)

It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise... And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of

Conductor Bill Doherty (Math/Technology Teacher)

Flute Alexé Anderson (Instructor) Bill Aron (Musician) Hannah Lee (Student) John Lopez (Music Major/Student) Mercedes Medina (Molecular Biology Student) Cathy Pierce (Teacher) Danielle Renville (Nutrition Assistant) Robert Roozendaal (Professional Animal Trainer) Christine Shoemaker (Plant Pathologist) Leslie Williams (Student)

Piccolo John Lopez (Music Major/Student) Christine Shoemaker (Plant Pathologist)

Oboe Emily Doherty (Student) Candis Hanson (Park Ranger) Tracy Popey (Orthopedic Surgeon, USAF)

Clarinet Rosie Aron (Special Education Aide) Sean Barrett (Student) Jan Groth (Educator) Michelle Johnson (US Air Force Registered Nurse) Pam Nadeau (Band Director) Eric Seiler (U.S. Army Musician) Andrew Smith (Student) Inga Soule (Accounting, SFSU) Jimmy Toor (Student) Otto Vasak (Retired Chemical Engineer)

Bass Clarinet Russ Grindle (Teacher) Deborah Johnson (Parole Administrator)

Bassoon Rafael Figueroa (Sales Supervisor) Davis Fischer-Walker (Student)

Soprano Saxophone Bill Aron (Musician)

Alto Saxophone Samantha Johnson (Science/Music Teacher) Marcus Mills (English/AVID Teacher) Stephen Yoo (Student)

Tenor Saxophone Evie Ayers (Arts Administrator) Joe Rico (Telecommunications Staff Engineer)

Rhapsody in Blue premiered on February 12, 1924, with the Whiteman Band performing and with Gershwin at the piano. In the audience were John Philip Sousa and Sergei Rachmaninoff.

When Gershwin met Maurice Ravel in New York during Ravel’s tour of the United States, Gershwin asked Ravel to be his teacher. Ravel responded that it was better to be a first-rate Gershwin than a second-rate Ravel. He instead recommended that Gershwin see Nadia Boulanger in Paris. Largely because of Ravel’s high praise, Gershwin arrived in Paris in March 1928. After playing ten minutes of his music for Boulanger, she replied that she had nothing to teach him. This was not a setback for Gershwin, though, as his true intent for going abroad was to complete a new work based on Paris. Gershwin explained, “My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.”

Originally titled Rumba, the Cuban Overture was a result of a two-week holiday which Gershwin took in Havana, Cuba, in February 1932. He composed the overture in July and August of 1932. The piece is dominated by Caribbean rhythms and Cuban native percussion, with a wide spectrum of instrumental color and technique.

A Tribute to Grainger Grainger corresponded with Cecil James Sharp for almost twenty years on the topic of their shared interest in folk-music collecting. Early in 1908, Grainger had sketched chamber music settings of two of the Morris dance tunes collected by Sharp in 1906. Country Gardens, the best known of all Grainger’s settings of English folksong, was sketched out for whistlers and a few instruments in 1908. That version was set aside until 1918, when it was redone for piano solo. For many years the piano version of Country Gardens was the best selling item in the Schott and Schirmer catalog. Grainger arranged the piece for military band in the 1950’s, but thought it undeserving of attention compared to the more traditional version done by John Philip Sousa and Tom Clark.

Two years before his masterpiece Irish Tune from County Derry, Grainger wrote Mo Nighean Dubh for chorus, displaying much the same intuitive harmonic sense. In the last decade of his life, he returned to this wonderful piece to create a more dissonant version for piano solo. The selection has something of an autobiographical quality to it, including the sounds of bells from grazing cattle.

The Gypsy’s Wedding Day was in the repertoire of many of the Lincolnshire singers whose songs Grainger recorded and noted. His setting has a delightful madrigal-like quality. The tuneful percussion are featured, as is appropriate—the words, after all, are “The bells they shall ring merrily and sweet the music play.”

They Can’t Take That Away From Me A second selection this evening from the film Shall We Dance, They Can’t Take That Away From Me was written in 1937 and performed in the film by Fred Astaire on the foggy deck of the ferry from New Jersey to Manhattan. It is sung to Ginger

musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.

Strike Up The Band.…...……………………………..….....Music by George Gershwin Lyrics by Ira Gershwin

Arranged by Leonard Moss

Handel in the Strand ........…….………………………..…….Percy Aldridge Grainger Arranged by Keith Brion and Loras J. Schissel

Let’s Call the Whole Thing Off ……………………….…...Music by George Gershwin Lyrics by Ira Gershwin

Arranged by Bill Doherty Elaine Lucia and Jeff Oster, Vocals

Colonial Song……………………………………..………...…Percy Aldridge Grainger Edited by Timothy Topolewski

Porgy and Bess - Selection..……..……………………………..……George Gershwin Arranged by Robert Russell Bennett

The Symphonic Gershwin ………………………………………..… George Gershwin Arranged by Warren Barker

INTERMISSION

A Tribute to Grainger……………………………………..…..Percy Aldridge Grainger

Arranged by Chalon L. Ragsdale 1. Country Gardens

2. Mo Nighean Dubh 3. “The Gypsy’s Wedding Day”

They Can’t Take That Away From Me …………………....Music by George Gershwin Lyrics by Ira Gershwin

Jeff Oster, Vocals

But Not For Me ….……….……………………………......Music by George Gershwin Lyrics by Ira Gershwin

Arranged by Warren Barker Elaine Lucia, Vocals

The Immovable Do ……….………...…………....……..…...Percy Aldridge Grainger

Gershwin! ………………………………………………….Music by George Gershwin Lyrics by Ira Gershwin, B.G. DeSylva, and Ballard MacDonald

Arranged by Warren Barker

Shepherd’s Hey! …………………………………………..…. Percy Aldridge Grainger Arranged by Loras J. Schissel

Virginia Tracy Otto and Elly Vasak Wayne Walker Marianne and M.L. “Swede” Walleen Mary Westergaard Edwin, Rosalee and Joanna Wheeler Joan L. White Mary Gay and Sid Whiting Elise Wigton Liz and Marty Wildberger Ruth A. Wolfe R.W. and D.L. Young Catherine Zimmerman Admirer ($25 - $99) Janice and Al Abrams John and Jean Adamo Murray and Zella Bass Patricia Benacquista Paul Bidinger Lucy Bonnett Sally Bowen Pat Brausch Dick and Bette Brown Gaylon and Vickie Caldwell Dick and Patricia Cartwright Jane Cypra Ted and Nancy Demosthenes Bill and Ann Farber Drake Rick Drewrey Manuel and Inia Escano Lloyd and Florence Espen John and Sally Ferejohn Eleanor Ford Joel and Barbara Gillespie Alyce Gilson Marion Graff Patricia L. Hale John and Loretta Hanley Babette Henkle Gigi Horton, State Farm Insurance Farley and Pegi Howell Marjorie M. Hyslop Hal and Madeline Jacobs John and Jeanne Kersten

Kenneth and Layna Kinsman Phil and Gloria Knebel “H.M” and Al Kocher Julia Kordes Delfina Kruge Maureen Lahiff Lynn Lippstreu Isabella Z. Lively Mary E. Longland Jean and Riva Mayers Jay E. McGee Mike and Jeanne Michael Helen Morin Susan Myers Carole O’Hara Mr. and Mrs. Chester Petersen Mark and Erin Proudfoot Jeanne Reavis Richard and Barbara Rimmer Wilma Romary Esther Rowland Emily Rued John W. Sarrelee Betty B. Schaefer Paul and Elaine Schmidt Gina Schneider Robert S. Schumack Bonnie and Ron Slusarz Jim Sokoloski Carol Solomon Michael Somers Jack and Carla Sorrelle Betty St. George Rudy Stubbs Geri Surber Frank and Betty Thomas Juliette Thomas Scott and Geri Vasak Nelda Wagner Sharon Walton, Walton’s Music Studio George and Nelda Wagner Pat and Tom Winburn Lorraine J. Wolfe Donald and Marie Wong Stephen Yoo Ralph and Daisy Young

John and Susan Coleman Peg Cutshall Nora Del Ross Cecelia Doherty Glenn and Marybeth Dow Carol Dugger Dick and Jan Feaster Phil and Dinny Fisher John and Charlotte Gearhart The Gibson Family, in memory of Gordon Gibson Patricia Glover Mary K. Grindle William and Constance M. Gum Sara and Ernest Haas Sue and Earl Handa Mr. and Mrs. Leonard Hartnett Bob and Terry Keck Jack and Dorothy Lindeman Eva M. Linn Ed and Garnet Lopez Clyde V. Martin, M.D. Thomas A. Martin, Jr. Walt and Esther McDaniel Barbara G. McKee Betty McMurry Don and Jean Meehan Joseph and Stephanie Mestas Wally and Pat Mitchell Doris and Frank W. Mize Kathleen Nye Barbara Palmer Bob and Barbara Pelascini John and Jean Peters Stephen and Cathy Pierce Myrlee Potosnak Betty and Bill Rawlinson Joe and Connie Regner Fred and Lee Schaffer Robert and Marsha Sergeant Diane Snow Jack and Carla Sorrelle Lacey and Rob Thayer

Concert Sponsors ($1,500 - Up) DeLong-Sweet Family Foundation Residents Council, Paradise Valley Estates

Jelly Belly Candy Company

Enthusiast ($250 – $1,499) Linn and Mona Benson Edna Biederman, in memory of Capt. USN, Jack Biederman

Gay Bowen, in memory of BGen, USMCR Russ Bowen

Vern and Jean Buskirk Ernest “Bud” Card Pat and Dan Child Bruce Conhain Spike and Betty Flertzheim Richard and Carla Grokenberger The Horton Family William and Doneyn Johnson Mary Kelley Dr. and Mrs. Raymon Lawton Duncan Miller Carol Moore Gloria Nemson Bob and Barbara Pelascini Adrian and Nancy Pastori Everett and Jean Riehl Bill and Elaine Smith Steve and Helen Tilley Barbara and Jim Tutt George Yeoman

Devotee ($100 - $249) David and Barbara Allard Bruce and Nancy Bartels Carol and Paul Bergerot Richard and Judith Blakemore Dorothee Brown Sondra Pike Browning John and Jetta Burnett Bill and Gerry Coghill Patricia D. and John A. Cole

Strike Up The Band Strike Up The Band is the title song for a musical interpretation of George S. Kaufman’s satire about a proud American owner of a cheese factory who is outraged when Switzerland protests a tariff on imported cheese and convinces the US government to declare a war he would finance. George and Ira Gershwin saw this as an opportunity to write in the style of W.S. Gilbert and Arthur Sullivan. The 1927 production never made it out of Philadelphia, as political satire was a hard sell even in an operetta style. The inevitable boy-meets-girl story did produce the classic love song “The Man I Love.”

In 1936, UCLA students were looking for a new rally tune. George and Ira Gershwin had moved from New York to Beverly Hills to work in Los Angeles on the Fred Astaire movie Shall We Dance. Maxson Judell, a music industry contact, approached them about contributing a song to UCLA. The Gershwins made a gift of the song to the University of California, Los Angeles. Ira Gershwin revised the lyrics and called the new version "Strike Up the Band for UCLA." From that time, it became one of the primary school songs. The UCLA Band currently plays an arrangement of "Strike Up the Band for UCLA" as part of each UCLA Bruins football pregame show and at home basketball games

Handel in the Strand This composition was originally titled Clog Dance. A close friend of Grainger’s, William Gair Rathbone (to whom the piece is dedicated), suggested the new title because the music seemed to reflect both Handel and English musical comedy—the Strand in London is a street which is the home of English musical comedy. According to Grainger, his composition sounded “as if old Handel were rushing down the Strand to the strains of modern English popular music.” Grainger said the piece was inspired by his delight on returning to the exhilarating sea climate of Holland after concerts further inland.

Let’s Call the Whole Thing Off Let's Call the Whole Thing Off is a song written by George Gershwin and Ira Gershwin for the 1937 film Shall We Dance where it was introduced by Fred Astaire and Ginger Rogers as part of a celebrated dance duet on roller skates. The song is most famous for its “You like to-may-toes and I like to-mah-toes” and other verses comparing their different regional dialects.

Among the notables who have recorded the song are Astaire & Rogers, Bing Crosby & Rosemary Clooney, Ella Fitzgerald & Louis Armstrong, Patty Austin & Gregory Hines, Harry Connick, Brian Wilson, The Ink Spots, Oscar Peterson, Billie Holiday, Sarah Vaughan, Mel Tormé, André Previn, Earl “Fatha” Hines, Joe Henderson, and many others.

Colonial Song Grainger used no traditional tunes in this piece which was written for and about the people in his native Australia. He expressed the wish to “voice a certain kind of emotion that seems to me not untypical of native-born colonials in general.” Concerning colonials, Grainger wrote the following: “Perhaps it is not unnatural that people living more or less alone in vast virgin

The Solano Winds would like to thank our donors, Solano Community College, Gordon’s Music and Sound, and the City of Fairfield for their generous support.

In the Fall of 1994, as Bob Briggs was leading the California Marching Band through his last season before his retirement, Bill Doherty suggested to him that he could fill his time in retirement by starting up a community band to conduct in Fairfield. Before becoming the Director of Bands at the University of California, Bob was the Director of the Armijo SuperBand, building a standard of excellence with that high school program. Strong high school bands in Fairfield have been around since that time, including many successful years for the Fairfield Scarlet Brigade, the Armijo Superband, the Rodriguez Entertainment Unit, and the Vanden Viking Band. What was missing was a place for adult musicians to continue to play their instruments. Bob took on the challenge, and attended Community Band workshops at the MidWest Band Clinic in Chicago that year. In the summer of 1995, a group of musicians gathered to discuss the possibility of putting together such a group, and two months later, 40 band musicians gathered at Fairfield High School for the first rehearsal of the Solano Winds. One week after that first rehearsal of October 5, 1995, over 50 musicians from seven counties were with the band to prepare for our first performance at Will C. Wood High School in December. Since that enthusiastic beginning, the band has regularly fielded a band of 45-70 members to perform a number of concerts throughout the year. Each year, the band has prepared four formal programs, and has also performed at events such as the Fourth of July Fireworks Show in Suisun, regular concerts at Paradise Valley Estates, and an annual appearance in the Carmichael Park Community Band Festival each June. The band has grown organizationally from our beginnings as well - starting with $500 grants from Gordon's Music and Sound and the Fairfield Scarlet Brigade Boosters in 1995, we now enjoy funding from a growing number of donors. Bill Doherty took the baton as Music Director for the band after Bob Briggs passed away in September 2008. The purpose of the band remains as how it started - to perform high quality band literature well, and to have fun doing it!

Our generous donors are the key to our successful community band. Ticket revenues make up less than 30% of our overall budget, and your help is always needed! Your tax deductible donation will help us in expanding our music library, commissioning a concert piece to be composed for our band, purchasing and renting musical instruments and equipment, and sponsoring guest artists at our performances.

Becoming an Admirer, Devotee or Enthusiast means you receive membership benefits. Help us spread the sound of fine concert band music throughout our community!

Admirers: $25-$99 Two concert vouchers

Recognition of gift in concert program

Devotees: $100-$249 Four concert vouchers

Recognition of gift in concert program

Enthusiasts: $250 and up Eight concert vouchers

Recognition of gift in concert program

Concert Sponsor: $1,500 Corporations or individuals may sponsor a concert; names will be prominently displayed in advertisements and concert programs. A commemorative plaque is included. Please contact bandinfo@solanowinds.org for more information.

Contributions may be sent to: Solano Winds PO Box 722 Fairfield, CA 94533-0072

We rehearse Tuesdays from 7:00 to 9:30 in the Solano Community College Band Room (room 1245), 4000 Suisun Valley Road, Fairfield, from late August through early June. If you play a band instrument, you are welcome to join us. Band musicians of all abilities are welcome!

For more information, send an email to bandinfo@solanowinds.org, or visit our website at www.solanowinds.org.

Solano Winds Community Concert Band www.solanowinds.org

A merican music of the 1920’s to 1940’s is celebrated tonight through the lens of two musical geniuses: George Gershwin and Percy Grainger. While their music shares a familiarity with today’s audiences, both composers broke new ground in their own ways.

George Gershwin mastered the twin genres of “popular” and “classical” music. The Gershwin “songbook” has been sung by virtually every important jazz vocalist, and scores of his tunes are considered “standards” in the repertoire. At the same time, his classical works introduced new sounds into that arena, and many are now likewise “classics”.

Percy Grainger, while perhaps less widely known to casual audiences, was a giant of a composer. He was particularly adept at adapting local folk tunes in a variety of instrumental combinations. Grainger himself was a virtuoso pianist, and in some ways led a troubled and controversial life. But his music was pure genius, especially his unique orchestration techniques and his magnificent use of texture.

Every piece tonight was selected from Gershwin’s and Grainger’s works of 1921 to 1948. Please enjoy these American classics!

Bill Doherty Music Director, Solano Winds Community Concert Band

-- In 1994, as Bob Briggs was beginning his last year before retirement as Director of the University of California Band, Bill Doherty suggested to him that they start a community band in Fairfield. A year later, that vision became a reality as Bob founded Solano Winds. Bill served as the first President of the group and helped to formalize the behind-the-scenes workings of the band while playing principal trumpet. Upon the passing of Robert O. Briggs in September 2008, Bill was named Music Director of Solano Winds.

Bill played in the Cal Band under Bob’s leadership while earning his Bachelor of Arts in Music from the University of California at Berkeley. He taught band for eleven years, including a three-year stay at Vanden High School, before adding mathematics to his teaching credential. In addition to his high school bands, Bill conducted the Berkeley Symphonic Band from 1985 to 1989. Currently, he teaches mathematics and assists teachers in their use of instructional technology at Campolindo High School in Moraga. He lives in Fairfield with his wife, Jennifer, who teaches music in Fairfield and plays percussion in Solano Winds, and his daughter Emily, who plays oboe and English Horn in Solano Winds. The elder Doherty children are students at the University of Oregon and UCLA.

Join us for more DUOS! 5/18/2012 : Stage & Screen

Guest Artists: Eric Seiler, Tenor Melanie Seiler, Soprano

Fairfield Center for Creative Arts 1035 West Texas Street, Fairfield

Tickets: $12 Adults/$8 Students & Seniors Online at www.solanowinds.org

Phone orders: (707) 428-7714 Fairfield Community Center

FCCA Box Office All online and phone orders are assessed a convenience fee.

The City of Fairfield assesses a $2 facility fee on all FCCA events.

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