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Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4. -
Fcttt Urrt-Cam? Inside
Will Dream For Fieldhouse Come True? By SCHUYLER PULFORD ty wants professional athletics performed on this area that would be needed for a conventional field- ketball team." Assistant N«wt Editor campus is a matter that must be discussed further." house parking facility, Marotta explained. McCoy admitted the proposition sounded "intri A dream come true? Maybe, if industrialist Ralph The fieldhouse would be erected next to the The idea was originally conceived as a rooftop guing" but added he didn't have the slightest idea Marotta continues his drive to build a $12 million soon-to-be-built Knight Continuing Education Center, parking lot, Morotta said, after a Coral Gables city "whether University officials would consider" hous fieldhouse with a seating capacity of 15,000 free of east of the baseball field and next to Ponce de Leon commissioner explained traffic and parking would be ing a pro hockey or basketball team. charge to the UM. Boulevard. drawbacks in obtaining zoning approval for the build Morotta explained that the fieldhouse be another "There would be no cost to the University be Marotta also suggested an idea to alleviate the ing. subsidiary with Bob Trocolor Sr. as president. "We yond a $1 a year lease for 99 years. The University parking problem which could arise with the building The traffic flow in and out from U.S. 1 would be obtained the University of Miami's own feasibility re would have full use of the fieldhouse at any time they of the arena. eased by extending a ramp across Ponce de Leon port on the fieldhouse and are working around it. -
WDR 3 Jazz & World, 08.Okt. 2016
WDR 3 Jazz & World, 08.Okt. 2016 Persönlich mit Götz Alsmann 13:04-15:00 Stand: 23.09.2016 E-Mail: [email protected] WDR JazzRadio: http://www.wdr.de/radio/jazz Moderation: Götz Alsmann Redaktion: Bernd Hoffmann Laufplan 1. I Dig K: Baxter 3:13 LES BAXTER Capitol 1355; LC: 00148 LP: Teen Drums 2. She ain’t no singer K: Van Heusen / Mercer 2:48 JIMMY KNEPPER Affinity 183; LC: 04647 LP: Tell Me 3. Home K: Von Steeden/ Clarkson/ Goeffrey 5:38 JIMMY KNEPPER wie Titel 2 4. Midnight Sun K: Hampton/Burke 2:53 SARAH McLAWLER & Vee Jay 1006 RICHARD OTTO LP: We Bring You Swing 5. Stay At Home Papa K: Dougherty/ Yellen 2:39 SOPHIE TUCKER Jasmine 134 CD: The Great Sophie Tucker 6. Love For Sale K: Porter 1:50 OSCAR MOORE AJ 509 LP: Archives Of Jazz Vol. 8 7. Kenya K: Moore 5:27 OSCAR MOORE wie Titel 6 8. You’re The Cream In My Coffee K: DeSilva/ Brown/ Hernerson 2:27 NAT KING COLE Jazzline 20808; LC: 03843 LP: The Vocal Sides 9. Rex Rumba K: Cole/ Moore/ Youmans 3:20 NAT KING COLE Capitol 1551863; LC: 00148 LP: Classics 10. More Than You Know K: Rose/ Eliscu/ Youmans 2:50 CHARLES BROWN & JOHNNY Route 66 KIX 17 MOORE LP: Race Track Blues Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 08.Okt. 2016 Persönlich mit Götz Alsmann 13:04-15:00 Stand: 23.09.2016 E-Mail: [email protected] WDR JazzRadio: http://www.wdr.de/radio/jazz 11. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Ting Ho 6 South Shore Road Denville, Nj 07834
TING HO 6 SOUTH SHORE ROAD DENVILLE, NJ 07834 COMPOSER ACTIVITIES (chronology) 2011 Premiere of The Reed Travels (clarinet and piano) by Romie de Guise-Langlois and Gabriela Martinez at Ars Vitalis (Kean University) 2010 Premiere of Making Peace (soprano, flute, clarinet and piano) by Lori Ernest and Palisades Virtuosi at the Composers in the House Concert (Montclair State Univ.) 2010 Performance of Harpsichord Sonata by Francis Yun (two performances in different venues) 2010 Performances of Soaring and Intermission at the Concert of Chinese and Chinese- Influenced Music at Montclair State University 2008 Performance of A Fool in Paradise by the Garden State Saxophone Quartet 2008 Premiere of Organ Concerto by the Baroque Ensemble of NJ 2007 Premiere of Dance Card (2 trumpets, 2 trombones) at the Kaleidoscope concert at Montclair State University 2006 Premiere of Concertino (orchestra) commissioned and performed by the Montclair State Symphony 2005 Premiere of Harpsichord Sonata by Mark Pakman (on piano) at Montclair State University 2004 Premiere of Teaneck Creek (oboe, cello, piano) by the Engle Winds, commissioned for the dedication of the Puffin Cultural Forum and Teaneck Creek Conservancy, and subsequent performances 2003 Premiere of Cliff Walk (clarinet, bassoon, piano) --- and subsequent performances 2002 Premiere of Three Songs About Love by the Montclair State University Chorus 2001 Premiere of When I Awoke by the Montclair State University Chorus 2000 Recipient of the Artfest 2000 Award from the Montclair State University School of the Arts 2000 Presentation of Montclair State University Presidential Lecture 1999 Premiere of Daisy at 8 (percussion ensemble) 1999 Premiere of Melodrama (piano trio) by the Montclair Honors Trio 1999 Premiere of Starry Night by the New Philharmonic of New Jersey, conducted by Leon Hyman 1998 Premiere of Caravan by the Montclair State University* Band, directed by Dr. -
J LI BRARY COLLE in September and October, 1947, General Motors Held a Contest for Its Employes
ORI A11.ANT1C UN\V£RSI11 S0 CIA L S1T • ~~. ~ · !istY"' '-7·"'··J LI BRARY COLLE In September and October, 1947, General Motors held a contest for its employes. It was based on the state ment MY JOB AND WHY I LIKE IT, and rapidly be came known around General Motors as the My Job Contest, or MJ C. The contest was open to all hourly rate employes and some salaried employes. All they had to do was write a letter-any length-explaining why they liked their jobs. The winners were picked by independent judges on the basis of sincerity, originality and subject mat ter, without consideration of writing ability. A total of 174,854'entries were received. More than 5,000 prizes, all GM products, were offered, the 40 top prizes being automobiles. This book contains the letters of these 40 top winners, entirely unedited and unchanged. My Job and Why I Like It • t tThe reward of a thing well done is to have done it." RALPH WALDO EMERSON • GENERAL MOTORS 1948 Copyright 1948 by General Motors FOREWORD FROM THE FIRST ANNOUNCEMEN'I of the My job Contest, these ques tions have been asked repeatedly- 1. Just what is the reason for the contest? 2. What do you hope to get out of the letters? 3. May we read the winning letters? Now, concerning the first question: The inspiration behind this unusual experiment-an inquiry into the attitudes of General Mo tors men and women-was generated by the popular fiction that people employed in such large enterprises as ours were "slaves of the conveyor belt" -"were just numbers" -"were without incentives to progress"-"were plodding in a mass to their hopeless destiny" and finally were ripe for revolution against the American form of govern ment and the whole Free Enterprise system. -
The Music of L!.Ighteenth Century New Jersey
The Music of l!.ighteenth Century New jersey CHARLES H. KAUFMAN NEW JERSEY'S REVOLUTIONARY EXPERIENCE Larry R. Gerlach, Editor This series of publications is dedicated to the memory of Alfred E. Driscoll, governor of New Jersey from 1947 to 1954, in grateful tribute to his lifelong support of the study and teaching of the history of New Jersey and the United States. He was a member of the New Jersey Historical Commission from 1970 until his death on March 9, 1975. The Music of Eighteenth Century New Jersey CHARLES H. KAUFMAN New Jersey Historical Commission Ubraly of Congress Cataloging in Publication Data Kaufman, Charles H. 1928- The music of eighteenth century New Jersey. (New Jersey's Revolutionary experience; no. 11) Biblicfgraphy: p. 1. New Jersey-History-Revolution, 1775-1783. 2. Music-New Jersey-History and criticism. I. New Jersey Historical Commission. II. Title. III. Series. E263.N5N78 no.11[Ml200.7.N5]780'.974975-28003 Price: $.50 Designed by Peggy Lewis and Lee R. Parks Copyright ®1975 by the New Jersey Historical Commission. All rights re served. Printed in the United States of America THE NEW JERSEY HISTORICAL COMMISSION is an official agency of the state of New Jersey, in the division of the State Library, Archives and History, Department of Education. Fred G. Burke, Commis sioner, Ralph H. Lataille, Deputy Commissioner. 113 West State Street, Trenton, NJ 08625 John T. Cunningham, Chairman • Henry N. Drewry, Vice-Chairman • Assemblyman William J. Bate • Kenneth Q. Jennings •Assemblyman Thomas H. Kean • Richard P. McCormick • Senator Anne C. Martindell • Eleanore N. Shuman • Donald A Sinclair • Senator James P. -
The Urban Social Pattern of Navi Mumbai, India
The Urban Social Pattern of Navi Mumbai, India Malathi Ananthakrishnan Thesis submitted to the Faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Urban and Regional Planning John Browder, Chair Wendy Jacobson Paul Knox April , 1998 Blacksburg, Virginia Keywords: urban social pattern, Navi Mumbai, Bombay, urban planning - India Copyright 1998, Malathi Ananthakrishnan The Urban Social Pattern of Navi Mumbai, India Malathi Ananthakrishnan (ABSTRACT) This research thesis examines the emerging trends in urban social patterns in Navi Mumbai, India. Unlike the other planned cities of India, Navi Mumbai was specifically built as a planned decentralization of a large metropolitan city. The research focuses on explaining the urban social pattern of this particular case study. An urban social pattern reflects the social characteristics of the urban setting. In the case of Navi Mumbai, the government had a social agenda of promoting a social pattern based on socioeconomic distribution rather than an ethnic one. Analysis of the data provides an insight to the results of this social agenda, and provides a basis to frame new ones. Thus, the study not only addresses a basic research question, but also has policy implications. The research involves a comprehensive review of secondary source material to establish the theoretical framework for the research. The review also involves an extensive inspection of urban social patterns across the world to better contextualize this particular case study. The research puts forth a model that explains the social pattern of Navi Mumbai by social area analysis using variables, which are drawn from social aspects of any city and indigenous factors of Indian settlements. -
Equad News Winter 2013 Volume 24, Number 2
EQuad News Winter 2013 Volume 24, Number 2 School of Engineering and Applied Science DEAN’S MESSAGE EQuad News Winter 2013 Volume 24, Number 2 Dean “Principles for the Development of a Complete Mind: Study the science of art. H. Vincent Poor, Ph.D ’77 Study the art of science. Develop your senses — especially learn how to see. Vice Dean Realize that everything connects to everything else.” Pablo Debenedetti ~Leonardo da Vinci Associate Dean, Undergraduate Affairs Peter Bogucki Art and engineering: Connections that create Associate Dean, Graduate Affairs What does it take to solve a problem? What does it take to make some- Brandi Jones thing of beauty? Associate Dean, For the past five years, my colleagues and I have talked a lot about Development Engineering News 1 some big topics — energy, the environment, human health, security. These Jane Maggard Aspire Update 3 critical areas of societal need have been the focus of our fundraising Director of Engineering Art Form Function 6 Communications efforts through Princeton University’s Aspire campaign. In this issue of Steven Schultz EQuad News, we celebrate the successful conclusion of that campaign Senior New Media Editor and the tremendous advances it has put in motion. But we also are taking Teresa Riordan this opportunity to consider a topic that may seem removed from the usual Staff Writer problems engineers tackle: the intersection of art and engineering. It’s a John Sullivan subject that reveals a lot about what engineering is at its best. Graphic Designer As Professor Mike Littman points out in his essay on page 6, engineers Matilda Luk can be artists, artists can be engineers, or the two professions can work Additional editing together in ways that yield entirely new and unexpected results. -
The Spiritual Sounds of MPS Cosmic Forest
Nicola Conte presents Cosmic Forest - The Spiritual Sounds Of MPS Label: MPS Records (LC01666) Distribution: EDEL / Kontor New Media Release: 21 September 2018 Cat-No. CD: 0212256MS1 UPC CD: 4029759122562 Cat-No. LP: 0212269MS1 UPC LP: 4029759122692 www.mps-music.com Info und press photos: http://www.herzogpromotion.com Track-Listing: 1. The Third Wave – Maiden Voyage (Here And Now), 2. Nathan Davis – Evolution (Happy Girl), 3. Dexter Gordon / Slide Hampton – A Day In Vienna ( A Day In Copenhagen), 4. VA Jazz Meets India – Yaad (Jazz Meets India), 5. George Gruntz – Djerbi (Noon In Tunisia), 6. Albert Mangelsdorff Quartett – Never Let It End (Never Let It End), 7. Smoke – Shelda (Everything), 8. Michael Naura Quartett - Soledad De Murcia (Call), 9. MPS Rhythm Combination & Brass – Timbales Calientes (My Kind Of Sunshine), 10. El Babaku – El Babaku (Live At Jazz Gallerie), 11. Hannibal & Sunrise Orchestra – Revelation (Hannibal), 12. Tony Scott & The Indonesian Allstars – Burungkaka Tua (Djanger Bali), 13. Dave Pike Set - Raga Jeeva Swara (Infra-Red) Cosmic Forest – The Spiritual Sounds of MPS “Cosmic Forest” takes us on a spiritual journey through the musical universe of Musik Produktion Schwarzwald (Black Forest Music Production), the most important German jazz label of the 1960’s and 70’s. Alongside such younger firms as ECM, Enja, and ACT, its catalogue of around 500 albums remains to this day one of the most interesting, comprehensive, multi-textured collections of “jazz made in Germany”. German businessman Hans Georg Brunner-Schwer (HGBS), owner of the German electronics company SABA in Villingen/ Schwenningen, founded a record company in 1965 under the same name and equipped it with its own recording studio. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. SLIDE HAMPTON NEA Jazz Master (2005) Interviewee: Slide Hampton (April 21, 1932 - ) Interviewer: William A. Brower with recording engineer Ken Kimery Date: April 20-21, 2006 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 117 pp. Brower: My name is William A. Brower. It is Thursday, April 20, 2006. I’m in Carmichael Auditorium, Smithsonian Institution, National Museum of American History, conducting an interview with Slide Hampton. Recording the interview is Ken Kimery. Would you start off, Mr. Hampton, by giving us your full name and date of birth? Hampton: My name is Locksley Wellington “Slide” Hampton. I was born in Jeannette, Pennsylvania, April 21, 1932. Brower: That means tomorrow you are seventy- Hampton: -four. Brower: Let’s start in Jeannette, Pennsylvania. Can you give us a little information about the town and what you recollect of being born there, and your early years? Hampton: I didn’t live there very long, but I do remember very strongly that in Jeannette, for some reason I got the impression that all of America was integrated, because we lived in a family – we shared a house with a white family and our family. I thought that it was that way everywhere until we left Jeannette. Then immediately it changed. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Brower: So you were living in a duplex, two-family home? Hampton: Yes, two-family home.