July Album Releases
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The Dave Brubeck Quartet Jazz Impressions of the U.S.A. Mp3, Flac, Wma
The Dave Brubeck Quartet Jazz Impressions Of The U.S.A. mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Impressions Of The U.S.A. Country: US Released: 1957 Style: Bop MP3 version RAR size: 1449 mb FLAC version RAR size: 1503 mb WMA version RAR size: 1488 mb Rating: 4.1 Votes: 868 Other Formats: FLAC MOD AAC AU WMA MMF APE Tracklist A1 Ode To A Cowboy A2 Summer Song A3 Tea Down Yonder For Two A4 History Of A Boy Scout B1 Plain Song B2 Curtain Time B3 Sounds Of The Loop B4 Home At Last Credits Alto Saxophone – Paul Desmond Bass – Norman Bates Drums – Joe Morello Piano – Dave Brubeck Other versions Category Artist Title (Format) Label Category Country Year The Dave Jazz Impressions Of The CL 984 Columbia CL 984 US 1957 Brubeck Quartet U.S.A. (LP, Album, Mono) The Dave Jazz Impressions Of The CL 984 Columbia CL 984 US 1957 Brubeck Quartet U.S.A. (LP, Album, Mono) The Dave Jazz Impressions Of The Phoenix 131573 131573 US 2013 Brubeck Quartet U.S.A. (CD, RE, RM) Records The Dave Jazz Impressions Of The CL 984 Columbia CL 984 Canada 1957 Brubeck Quartet U.S.A. (LP, Album, Mono) Jazz Impressions Of The The Dave Gambit 69308 U.S.A. (CD, Album, Mono, RE, 69308 Europe 2009 Brubeck Quartet Records Unofficial) Related Music albums to Jazz Impressions Of The U.S.A. by The Dave Brubeck Quartet The Dave Brubeck Quartet - Anything Goes! The Dave Brubeck Quartet Plays Cole Porter The Dave Brubeck Quartet - Dave Brubeck At Storyville: 1954 (Vol. -
Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
Jazz, Pop, Concert Styles, by Arranger Manny
ly in rein. The one dull track is Morello's romp through This Can't Be Love, in ans. Only Evans is heard on piano on long drum solo of tiresome music. which his flowing lines mingle elements this dise, however; Costa concentrates on of Django Reinhardt and Charlie Chris- vibes, which he plays so well that one tian. hesitates to designate it as his second in- CHARLIE BYRD: Blues for Night People strument. There is an interesting contrast SAVOY 12116. LP. $4.98. EDDIE CHAMBLEE AND HIS OR- between Costa at the piano, where he is CHESTRA: Doodlin' fond of making stirring forays into the The unamplified Spanish guitar, plucked EmAnca 36131. LI'. $3.98. lower register, and on the vibes, on in classical style, jazz or entered a year which he' is more apt to be light and so ago on an impressive EmArcy record- The appearance of Eddie Chamblee's Glancing. Ile dances sure-footedly through ing by Bill Harris. Byrd plays the saune unpretentious little jump band serves as this disc while Evans, who shares some instrument in the sanie way, but his per- a reminder that this once prolific species Piano ch irawteristics with Costa, provides formances on this record are a decided has, for the must part, been absorbed and a spare prodding contrast. Unfortunately, advance over those bv Harris. The depths twisted by rock 'n' roll. Chamblee's group the selections-siw tunes from Guys and of Byrd's wreathe resources and his well is more polished and versatile than the Dolls -arc generally kept going too long of melodic invention an strikingly illus- jump band of old, and this disc, the to be sustained by only two soloists. -
Aspects of Jazz and Classical Music in David N. Baker's Ethnic Variations
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2002 Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini Heather Koren Pinson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Pinson, Heather Koren, "Aspects of jazz and classical music in David N. Baker's Ethnic Variations on a Theme of Paganini" (2002). LSU Master's Theses. 2589. https://digitalcommons.lsu.edu/gradschool_theses/2589 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ASPECTS OF JAZZ AND CLASSICAL MUSIC IN DAVID N. BAKER’S ETHNIC VARIATIONS ON A THEME OF PAGANINI A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Music in The School of Music by Heather Koren Pinson B.A., Samford University, 1998 August 2002 Table of Contents ABSTRACT . .. iii INTRODUCTION . 1 CHAPTER 1. THE CONFLUENCE OF JAZZ AND CLASSICAL MUSIC 2 CHAPTER 2. ASPECTS OF MODELING . 15 CHAPTER 3. JAZZ INFLUENCES . 25 BIBLIOGRAPHY . 48 APPENDIX 1. CHORD SYMBOLS USED IN JAZZ ANALYSIS . 53 APPENDIX 2 . PERMISSION TO USE COPYRIGHTED MATERIAL . 54 VITA . 55 ii Abstract David Baker’s Ethnic Variations on a Theme of Paganini (1976) for violin and piano bring together stylistic elements of jazz and classical music, a synthesis for which Gunther Schuller in 1957 coined the term “third stream.” In regard to classical aspects, Baker’s work is modeled on Nicolò Paganini’s Twenty-fourth Caprice for Solo Violin, itself a theme and variations. -
Evaluation of the Work of Jazz Pianist/Composer Dave Brubeck
AN EVALUATION OF THE WORK OF JAZZ PIANIST/COMPOSER DAVE BRUBECK BY DANNY RONALD ZIRPOLI A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1990 Copyright 1990 by Danny Ronald Zirpoli , ACKNOWLEDGEMENTS This writer is greatly appreciative of the valuable help given by many people. A very special thanks and acknowledgement are extended to my chairman, mentor, advisor, and friend, Dr. David Z. Kushner whose belief in my ability gave me the confidence to see this project to completion. Gratitude is extended to my other committee members Dr. S. Philip Kniseley, Professor John S. Kitts, Dr. Jeff A. Hurt, and Dr. Forrest W. Parkay. Their help and encouragement were most appreciated. I would also like to thank Mrs. Robena Eng-Cornwell Associate University Librarian, University of Florida, for her valuable assistance. This study would have been difficult to complete without the help of Mrs. Juliet Gerlin. She not only provided valuable support and source materials but also arranged for a personal interview with Dave Brubeck. To my mother, Margaret Zirpoli, mother-in-law, Eileen Cywinski, and father-in-law, John Cywinski, go my heartfelt thanks. Their faith and confidence in me were unsurpassed. I will forever be indebted to my wife for her help and moral support during this time. She truly helped me through my darkest hours. iii TABLE OF CONTENTS PAGE ACKNOWLEDGEMENTS iii LIST OF FIGURES vi ABSTRACT xii CHAPTERS I INTRODUCTION AND PROBLEM STATEMENT 1 II METHODOLOGY AND MATERIALS 5 III REVIEW OF THE LITERATURE 11 IV BIOGRAPHICAL SKETCH 18 V INFLUENCES AND STYLISTIC APPROACHES 37 Early Influences 3 7 Darius Milhaud Influence 56 Compositional Approach Polyrhythms and Polytonality 58 Influence of European Classical Composers Integration of Classical and Jazz Elements 67 Jazz Choral Compositions 80 Orchestral Genre — Elementals 88 Programmatic Inspiration — Keyboard Works. -
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€rv Rcfcr llw, l?.*f t::l When San FranclEco Jazz lraptessario Jlrrny Lyons introduced. an unlinorrn new quartet to LocaJ- Black Hawk Club aud.lences baek ln L95L, he predlctecr ,i:,-i-ui.,,'i ntOne day eoon thls group wlLL be the best tn the eountry. " Three years Later TIME Magazlne irad the quart"qJrs piano-ptaylng leo.ci-er, Dave Burbeck, on its eover, was describlng him as "probably tire mcrst exei,;i.::i51 new Jazz artlst at work today" " In three short years Brubeck and. conrpeiny hacl played. every nrajor jaaz cJ-ub in the country, toured. d.ozens of college cantpuses and. concert sta.ges , rll,i* a cLean sweep of popularity po3-1s for jazz musicians. As TIME went to press. "Jazz Goes tc College" appeared" for ihe f::'st, N:-me on TIIE BITJaOAI{DTS authoritative chart of the eountryrs ten best-selling pcilrri:.a::' alburns. TIME noted.: Brubeckts first Coh"unbia albun, Jazz Goes to Coi-l-ege, "for four months"'* outsold. any single albu:t by another kind. of pianlst n:;.::qcll Llberace, t' Thlrty-three-year-old. Bnrbeck first took to the piano at age foru' :,r: Cc;:.i:,:;;'i1, California, fashloneo hrs first fuoprovisatlons at flve and. stud.j-ed lif iii n:.s aiot;l:er, planlst ELizabeth lvey Bnrbeck, for rrany years thereafter. At thirteen hls m.rsical- arnbltions were d.lverted. by a strong desirr,: l;c ?.lecorile a cowboy* ile became an a,ccorxplished. cowhand. but kept playing piano in a:;sor'Leij. hlllblJ-Iy and. -
Coleman Hawkins Desafinado: Bossa Nova & Jazz
Coleman Hawkins Desafinado: Bossa Nova & Jazz Samba mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Desafinado: Bossa Nova & Jazz Samba Country: US Style: Bossa Nova MP3 version RAR size: 1109 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1650 mb Rating: 4.2 Votes: 274 Other Formats: DMF AUD DXD WAV VOX ASF AA Tracklist A1 Desafinado 5:46 A2 I'm Looking Over A Four Leaf Clover (Jazz Samba) 2:50 A3 Samba Para Bean 5:25 A4 I Remember You 4:05 B1 One Note Samba (Samba De Uma Nota So) 6:02 B2 O Pato (The Duck) 4:08 B3 Um Abraco No Bonfa (An Embrace To Bonfa) 4:49 B4 Stumpy Bossa Nova 2:32 Credits Bass – Major Holley Coordinator [Music Coordinator] – Manny Albam Cover, Photography [Liner Photos] – Jack Bradley Design [Cover Design] – Robert Flynn Design [Liner Design] – Joe Lebow Engineer – Rudy Van Gelder Guitar – Barry Galbraith, Howard Collins Liner Notes – Dan Morgenstern Percussion – Eddie Locke, Tommy Flanagan, Willie Rodriguez Producer – Bob Thiele, Bob Thiele Tenor Saxophone – Coleman Hawkins Notes Reissue with green bullseye labels, released between 1974-79. Gatefold jacket. Recorded September 12 and 17, 1962. Other versions Category Artist Title (Format) Label Category Country Year Desafinado: Bossa Nova & A-28 Coleman Hawkins Jazz Samba (LP, Album, Impulse! A-28 US 1963 Mono) Desafinado (Bossa Nova & A-28 Coleman Hawkins Jazz Samba) (LP, Album, Impulse! A-28 US 1963 Mono, Promo) Desafinado (LP, Album, RE, DOL856H Coleman Hawkins DOL DOL856H Europe 2015 180) The Coleman ABC 17.1045/9 Desafinado (LP, Album, RE) -
Holt Atherton Special Collections Ms4: Brubeck Collection
HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov. -
The Dave Brubeck Quartet Tritonis Mp3, Flac, Wma
The Dave Brubeck Quartet Tritonis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Tritonis Country: US Released: 1980 Style: Contemporary Jazz MP3 version RAR size: 1817 mb FLAC version RAR size: 1259 mb WMA version RAR size: 1461 mb Rating: 4.3 Votes: 966 Other Formats: TTA MP2 VOX MP3 MMF AAC MIDI Tracklist A1 Brother, Can You Spare A Dime? 7:08 A2 Like Someone In Love 5:39 A3 Theme For June 7:27 B1 Lord, Lord 6:21 B2 Mr. Fats 3:12 B3 Tritonis 8:05 Companies, etc. Manufactured By – Festival Records – SMX-56983 Credits Drums – Randy Jones Piano – Dave Brubeck Producer – Russell Gloyd Producer, Electric Bass, Bass Trombone – Chris Brubeck Tenor Saxophone, Electric Bass – Jerry Bergonzi Other versions Category Artist Title (Format) Label Category Country Year The Dave CJ-129 Tritonis (LP) Concord Jazz CJ-129 US 1980 Brubeck Quartet L 37476, The Dave Interfusion, L 37476, New Tritonis (LP) 1980 CJ-129 Brubeck Quartet Concord Jazz CJ-129 Zealand The Dave Tritonis (LP, CJ-129 Concord Jazz CJ-129 US 1980 Brubeck Quartet DBX) The Dave Tritonis (CD, 505.RU Limited Edition 505.RU Russia 1998 Brubeck Quartet Unofficial) The Dave CCD-4129 Tritonis (CD) Concord Jazz CCD-4129 US 1995 Brubeck Quartet Related Music albums to Tritonis by The Dave Brubeck Quartet The Dave Brubeck Quartet - Jazz Impressions Of Eurasia The Dave Brubeck Quartet - Cable Car / Theme From Elementals The Dave Brubeck Quartet - Georgia On My Mind Dave Brubeck Quartet, The - Jazz Goes To College The Dave Brubeck Quartet - The Dave Brubeck Quartet In Europe The Dave Brubeck Quartet Featuring Paul Desmond - Dave Brubeck Quartet Dave Brubeck Quartet, Trio And Duo - Southern Scene Jimmy Rushing & Dave Brubeck And Friends - All That Jazz, Vol. -
PHIL WOODS NEA Jazz Master (2007)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PHIL WOODS NEA Jazz Master (2007) Interviewee: Phil Woods (November 2, 1931 - ) Interviewer: Marty Nau and engineered by Ken Kimery Date: June 22-23, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 66 pp. Marty Nau [MN]: Okay, this is Marty Nau here with the Smithsonian interviewing Phil Woods, a certain dream of mine come true. And Phil for the national record … Phil Woods [PW]: Yes, sir. [MN]: … for the Smithsonian they’d like to have you state your full name. [PW]: Gene Quill [laughs]. No, I’m, I’m Phil Woods. I was born in uh 1931. Uh, November second, which means today I’m 78 but I’m very happy to say I have the body of a 77-year-old man. [MN]: I noticed that immediately. [PW]: I was born in Springfield, Massachusetts. I have one brother, seven years older. And uh, any other facts you’d like to have? [MN]: Well, uh could you talk about your parents? [PW]: My parents. Well, my dad was reported to be a violin player when he was a kid. Um, music was very important in our family. My mom loved music. Uh [mumbles] there were four or five sisters and on my father’s side there was an uncle who played saxophone and one of my mother’s sister’s husbands played saxophone and that’s how I, I was given the sax in the will when he died. -
SAMMY NESTICO Music Distributed by K ENDOR M Usic
enDor usic K Doug Beach MuMsic V o l u M e 3 azz 3 eJnseMBle visit us at kendormusic.com : • free recordings • SoloMate accompaniment tracks • complete viewable scores • detailed descriptions • brass ranges • dealer directory Jazz Series Kendor Jazz Doug Beach Jazz Gateway Series Foundations Series Easy charts for developing groups, Very easy charts for 4 horns with many featuring Kendor Konvertible rhythm section that are expandable to scoring for 9-17 pieces. A guitar chord full-size big band. chart is included. Download Jazz Gateway MP3 Album Doug Beach First Edition Series Easy charts for developing groups, playable by 12-17 players. Kendor Jazz Journey Series Medium charts for advancing groups. A guitar chord chart is included. Doug Beach Threshold Series Download Jazz Medium easy to medium charts for Journey MP3 Album advancing groups. Kendor Jazz Doug Beach Summit Series Jazz Ensemble Series Advanced charts for proficient big Medium to medium advanced charts bands. for proficient big bands. Download Jazz Download Doug Summit MP3 Album Beach MP3 Album Encore Editions are repromoted titles Kendor Music, Inc. with full recorded versions and online MUSIC PUBLISHER 21 Grove Street • PO Box 278 enhancements. Delevan, New York 14042-0278 • U.S.A. phone 716-492-1254 fax 716-492-5124 www.kendormusic.com e-mail: [email protected] ENCORE E DItION Kendor Jazz Jamie Gateway Series by Sammy Nestico Recorded by Count Basie on the album “Have A Nice ENCORE E DItION Day” (Daybreak Records), this highly expressive ballad is a study in subtle textures and colors featuring short Bossa Bonito written or improvised piano solos and fills, muted by Jon Phelps brasses, and a directed ending that closes in a whisper. -
Thad Jones Chronology Copy
Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also