Discografía Art Blakey
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Mike Mangini
/.%/&4(2%% 02):%3&2/- -".#0'(0%4$)3*4"%-&34&55*/(4*()54 7). 9!-!(!$25-3 VALUED ATOVER -ARCH 4HE7ORLDS$RUM-AGAZINE 0/5)& '0$64)*)"5 "$)*&7&5)&$-"44*$ 48*/(406/% "35#-",&: 5)&.&/503 50%%46$)&3."/ 45:-&"/%"/"-:4*4 $2%!-4(%!4%23 Ê / Ê" Ê," Ê/"Ê"6 , /Ê-1 -- (3&(03:)65$)*/40/ 8)&3&+";;41"45"/%'6563&.&&5 #6*-%:06308/ .6-5*1&%"-4&561 -ODERN$RUMMERCOM 3&7*&8&% 5"."4*-7&345"33&.0108&34530,&130-6%8*("5-"4130)"3%8"3&3*.4)05-0$."55/0-"/$:.#"-4 Volume 36, Number 3 • Cover photo by Paul La Raia CONTENTS Paul La Raia Courtesy of Mapex 40 SETTING SIGHTS: CHRIS ADLER Lamb of God’s tireless sticksman embraces his natural lefty tendencies. by Ken Micallef Timothy Saccenti 54 MIKE MANGINI By creating layers of complex rhythms that complement Dream Theater’s epic arrangements, “the new guy” is ushering in a bold and exciting era for the band, its fans, and progressive rock music itself. by Mike Haid 44 GREGORY HUTCHINSON Hutch might just be the jazz drummer’s jazz drummer— historically astute and futuristically minded, with the kind 12 UPDATE of technique, soul, and sophistication that today’s most important artists treasure. • Manraze’s PAUL COOK by Ken Micallef • Jazz Vet JOEL TAYLOR • NRBQ’s CONRAD CHOUCROUN • Rebel Rocker HANK WILLIAMS III Chuck Parker 32 SHOP TALK Create a Stable Multi-Pedal Setup 36 PORTRAITS NYC Pocket Master TONY MASON 98 WHAT DO YOU KNOW ABOUT...? Faust’s WERNER “ZAPPI” DIERMAIER One of Three Incredible 70 INFLUENCES: ART BLAKEY Prizes From Yamaha Drums Enter to Win We all know those iconic black-and-white images: Blakey at the Valued $ kit, sweat beads on his forehead, a flash in the eyes, and that at Over 5,700 pg 85 mouth agape—sometimes with the tongue flat out—in pure elation. -
![Wall to Wall Miles Davis 2001 (Disc 1 and 2) [Relaxin’ Withthemilesdavis Quintet,1956] 03](https://docslib.b-cdn.net/cover/0212/wall-to-wall-miles-davis-2001-disc-1-and-2-relaxin-withthemilesdavis-quintet-1956-03-160212.webp)
Wall to Wall Miles Davis 2001 (Disc 1 and 2) [Relaxin’ Withthemilesdavis Quintet,1956] 03
Disc 2 Song & Surprise Mileselektronika Jane Ira Bloom - soprano saxophone, live Hagans/Belden Animation Project featuring electronics DJ Kingsize Bobby Previte - drums DJ Kingsize - turntables Cameron Brown - bass Tim Hagans - trumpet Vincent Bourgeyx - piano Bob Belden - tenor saxophone 04. How Deep Is the Ocean/Solar 20:49 Scott Kinsey - piano [Miles Davis, Volume 1 (1952)/Walkin] David Dyson - electric bass Zach Danzinger - drums Someday My Prince Will Come 01. Intro - Mother Dearest Mother 0:51 The Campbell Brothers [unreleased] Phil Campbell - guitar 02. Paraphernilia 14:56 Chuck Campbell - pedal steel guitar [Miles In The Sky, 1968] Darick Campbell - lap steel guitar Malcolm Kirby, Jr. - bass Live/Evil Carlton Campbell - drums Wall to Wall Sex Mob with Bill Frisell and DJ Logic 05. Someday My Prince Will Come 3:12 Bill Frisell - guitar 06. Summertime 3:59 DJ Logic - turntables 07. All Blues 6:45 Steven Bernstein - trumpet [Someday My Prince Will Come, 1961; Miles Davis Briggan Krauss - alto saxophone Porgy And Bess, 1958; Kind Of Blue, 1959] Symphony Space Tony Scherr - bass Kenny Wolleson - drums The Miles Experience New York, NY 03. Selim 18:12 Nora York - vocals [Live/Evil, 1970] Claire Daly - baritone saxophone March 24, 2001 Dave Hofstra - bass Ronnie Williams - drums Disc 1 and 2 08. So What/I Don’t Live Today 7:09 [Kind Of Blue, 1959; Are You Experienced, 1967] Thanks to GUITARS for sharing this at Dime; and to lilioriverio and abbcccus for keeping the show alive since 2007. Lineage: cdr in trade > eac > flac level 6 MP3 Version Various Wall To Wall Miles Davis 2001 (Disc 1 and 2) Miles Davis Wall To Wall Various Disc 1 The Hot Spot Bitches Brew Olu Dara Ensemble Bobby Previte’s Voodoo Down Orchestra Olu Dara - cornet, guitar, vox Bobby Previte - drums Kwatei Jones Quartey - guitar Ray Anderson - trombone Alonzo Gardner - bass Peter Epstein - soprano saxophone Larry Johnson - drums Adam Kolker - bass clarinet Coster Massamba - percussion Pete McCann - guitar 04. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
A Search and Retrieval Based Approach to Music Score Metadata Analysis
A Search and Retrieval Based Approach to Music Score Metadata Analysis Jamie Gabriel FACULTY OF ARTS AND SOCIAL SCIENCES UNIVERSITY OF TECHNOLOGY SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy April 2018 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as part of the collaborative doctoral degree and/or fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This research is supported by the Australian Government Research Training Program. Production Note: Signature: Signature removed prior to publication. _________________________________________ Date: 1/10/2018 _________________________________________ i ACKNOWLEGEMENT Undertaking a dissertation that spans such different disciplines has been a hugely challenging endeavour, but I have had the great fortune of meeting some amazing people along the way, who have been so generous with their time and expertise. Thanks especially to Arun Neelakandan and Tony Demitriou for spending hours talking software and web application architecture. Also, thanks to Professor Dominic Verity for his deep insights on mathematics and computer science and helping me understand how to think about this topic in new ways, and to Professor Kelsie Dadd for providing me with some amazing opportunities over the last decade. -
African Traditional Medicine Day Rganization Regional Office for Africa O Rganization of the World H Ealth a Serial Publication
august 2010 · special issue 14 · a serial publication of the World health organization regional office for africa · issn 2077 6136 tHe AfricAn monitor Healt 31 August 31 Day Medicine Traditional African special H issue r EG i O n AL O ffic E f O r Africa The African Health Monitor is a magazine of the World Health Organization Regional Office for Africa (WHO- AFRO) published four times a year (January, April, July and October). It is a multilingual publication with peer- reviewed articles in English, French and Portuguese. REGIONAL OFFICE FOR Africa The aim of the African Health Monitor is to promote and facilitate evidence-based policy and decisions to strengthening programmes for health promotion, protection, and restoration in the African Region. In order to achieve its aim, the Monitor serves as a medium for publication of articles that monitor the health n A situation and trends, and track progress toward the health-related Millennium Development Goals and other internationally agreed-upon goals. It will publish and disseminate relevant and scientifically rigorous public HealtH health information. It will also disseminate information on public health interventions carried out in the Member States with the cooperation of AFRO technical programmes. Afric e Prospective authors should follow the Monitor stylesheet, which can be obtained by sending an email H t monitor message to the Editorial Office at [email protected] or by using this intranet link http://intranet.afro.who.int/ guidelines/ahm.pdf african traditional Paul Lusamba-Dikassa (Editor-in-Chief) for the African Health Monitor Special Issue on Traditional Medicine medicine day, 31 august EditorialUche Amazigo Board ExpErt adviSorY panel special issue Rufaro Chatora Dr Kofi Busia, WAHO, Burkina Faso Alimata J. -
TOP 40ALBUMS Patrice Rushen out with Her First Elektra "Ain't Misbehavin'." So, for Those Who En- Album After Several Prestige Lps
ON JAZZ TOP 40ALBUMS Patrice Rushen out with her first Elektra "Ain't Misbehavin'." So, for those who en- album after several Prestige LPs. The joyed the show, this is the LP for you. album, called "Patrice," has ten titles, most Sam Noto and Kenny Drew set to record of which were authored or co-authored by for Xanadu in Los Angeles shortly, Dolo Weeks Weeks the leader, who also co -produced the Coker, Frank Butler and Charles McPher- On On 10/14 Chart 10/14 Chart album. son will also be involved in the projects. 1 CHILDREN 21 LEGACY Vanguard arrives with three new LPs. Idris Muhammad has finished his OF SANCHEZ first CHUCK MANGIONE (A&M SP 6700) 1 4 RAMSEY LEWIS (Columbia JC 35483) 26 2 "Jazz Violin" is by the late Joe Venuti and album under his new deal with Prestige. was recorded in Milan in October 1974. Fall release is scheduled. 2 IMAGES 22 BEST OF CHUCK CRUSADERS "BobMover" presentsthealto saxophonistin Richard Tee, ace New York keyboard MANGIONE (ABC/Blue Thumb BA 6030) 2 15 (Mercury SRM 2-8601) 21 9 a small group setting with Kenny Barron specialist, has signed with Tappan Zee and and the strong young trumpet player, is working on his album which, oddly 3 COSMIC MESSENGER 23 THE BLUE MAN JEAN-LUC PONTY STEVE KHAN (Columbia JC 35539) 24 6 Claudio Roditi. Mike Mandel's "Sky Music" enough, will be the first under his own (Atlantic SD 19189) 3 8 features the leader on keyboards with name. 24 HEAVY METAL BE-BOP 4 SOUNDS AND STUFF some heavy New York pros, incuding Dave Grant Green still recuperating in .. -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
Lee Morgan and the Philadelphia Jazz Scene of the 1950S
A Musical Education: Lee Morgan and the Philadelphia Jazz Scene of the 1950s Byjeffery S. McMillan The guys were just looking at him. They couldn't believe what was coming out of that horn! You know, ideas like . where would you get them? Michael LaVoe (1999) When Michael LaVoe observed Lee Morgan, a fellow freshman at Philadelphia's Mastbaum Vocational Technical High School, playing trumpet with members of the school's dance band in the first days of school in September 1953, he could not believe his ears. Morgan, who had just turned fifteen years old the previous July, had remarkable facility on his instrument and displayed a sophisticated understanding of music for someone so young. Other members of the ensemble, some of whom al- ready had three years of musical training and performing experience in the school's vocational music program, experienced similar feelings of dis- belief when they heard the newcomer's precocious ability. Lee Morgan had successfully auditioned into Mastbaum's music program, the strongest of its kind in Philadelphia from the 1930s through the 1960s, and demon- strated a rare ability that begged the title "prodigy." Almost exactly three years later, in November of 1956, Lee Morgan, now a member of die Dizzy Gillespie orchestra, elicited a similar response at the professional level after the band's New York opening at Birdland. Word spread, and as the Gillespie band embarked on its national tour, au- diences and critics nationwide took notice of the young soloist featured on what was often the leader's showcase number: "A Night in Tunisia." Nat Hentoff caught the band on their return to New York from the Midwest in 1957. -
JREV3.8FULL.Pdf
JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc. -
HOW DALE BARLOW BECAME a JAZZ MESSENGER by Eric Myers ______
HOW DALE BARLOW BECAME A JAZZ MESSENGER by Eric Myers _________________________________________________________ [This article first appeared in Jazzchord, Sep/Oct 1996.] ost students of Australian jazz can point to their favourite milestones, which had momentous implications for key musicians. In terms of the impact of Australian M jazz in the international arena, one might note the invitation issued by Harry Stein in Melbourne in early 1946 to Graeme Bell, asking him whether he’d like to take his band to Prague for the World Youth Festival. Or the invitation issued in 1954 by the owner of Klein’s jazz club in Detroit to Errol Buddle to take over the resident band (which included the pianist Tommy Flanagan). Or, perhaps more significantly, the subsequent invitation from another Detroit club owner Ed Sarkesian to Errol to provide a band of Australians for the Rouge Lounge (that band became the Australian Jazz Quartet). Errol Buddle (centre) at Klein’s, Detroit in 1953. Pepper Adams (baritone) is to the left. Barry Harris (piano) can just be seen to the right. Obscured behind Buddle is Elvin Jones (drums). Buddle’s invitation to take over the band at Klein’s led to a significant milestone in Australian jazz: the advent of the Australian Jazz Quartet. In this league is the invitation issued in 1989 by the drummer Art Blakey in New York to Dale Barlow to become a fulltime member of the Jazz Messengers. How did this come about? How was it that an Australian saxophonist - a white musician - was able to join a band which, for 35 years, had virtually defined hard-bop, and represented one of the pinnacles of achievement in black American jazz? In 1989 Dale Barlow had returned to New York on a whim. -
Downbeat.Com March 2014 U.K. £3.50
£3.50 £3.50 U.K. DOWNBEAT.COM MARCH 2014 D O W N B E AT DIANNE REEVES /// LOU DONALDSON /// GEORGE COLLIGAN /// CRAIG HANDY /// JAZZ CAMP GUIDE MARCH 2014 March 2014 VOLUME 81 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes Editorial Intern Kathleen Costanza Design Intern LoriAnne Nelson ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene -
MUNI 20121022 – Piano 5 - Youtube 1 Teddy Wilson Trio: Honeysuckle Rose 5:49 Jimmy Atwood-B; Jo Jones-Dr
MUNI 20121022 – piano 5 - youtube http://www.youtube.com/watch?v=R5NqUoM-WZo 1 Teddy Wilson Trio: Honeysuckle Rose 5:49 Jimmy Atwood-b; Jo Jones-dr. Civic Opera House, Chicago, 1963 – hosted by Willis Conover http://www.youtube.com/watch?v=X2oDW1cTydA 2 Jess Stacy – Complainin’ Bob Cats 1951 2:44 Billy Butterfield trumpet, Matty Matlock clarinet, Eddie Miller tenor sax, Warren smith trombone, Jess Stacy piano, Nappy Lamare guitar, Bob Haggart bass and Ray Bauduc drums http://www.youtube.com/watch?v=qYcZGPLAnHA http://www.youtube.com/watch?v=MNp-ldlnf5s 3 Art Tatum: Humoresque 2:46 http://www.youtube.com/watch?v=D9Cs_zb4q14 4 Art Tatum: Yesterdays 2:01 http://www.youtube.com/watch?v=mVuE0ywwBO0 film Fabulous Dorseys (1947) – Art’s Blues 3:00 Ziggy Elman-tp; Tommy Dorsey-tb; Jimmy Dorsey-cl; Charlie Barnet-ts; Art Tatum-p; George Van Eps-g; Stuart Foster-b; Ray Bauduc-dr. http://www.youtube.com/watch?v=dCYApJtsyd0 5 Nat King Cole Quartet: Route 66 3:07 http://www.youtube.com/watch?v=cIkQNti8_EU 6 Oscar Peterson solo: I Can’t Get Started 4:58 http://www.youtube.com/watch?v=Q4Ht4Rm-qo4 Oscar Peterson Trio Live at Newport Jazz Festival 8:27 Ray Brown-; Ed Thigpen-dr. …….. 7 od 2:33 Yours Is My Heart Alone http://www.youtube.com/watch?v=xdd5pn1xs7M&feature=related 8 Peterson-Kessel-Pedersen: Boogie Blues Etude at Ronnie Scott’s 1974 8:04 http://www.youtube.com/watch?v=-rpdxSMgtUc&feature=related 9 Peterson-Pass-Pedersen: Sweet Georgia Brown, Italy 1985 8:40 Live at the Bussoladomani, Lido di Camaiore http://www.youtube.com/watch?v=XIs1vcoPQbw&feature=related 10 Oscar Peterson-Count Basie: Jumpin‘ at the Woodside 3:05 Niels Henning Ørsted-Pedersen, Martin Drew http://www.youtube.com/watch?v=5-mIHk2rM0Q 11 Oscar Peterson Quartet: Hymn to Freedom 5:58 Ulf Wakenius-g; NHØP-b; Martin Drew-b.