Biographical Description for the Historymakers® Video Oral History with Philip Cohran
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Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
November 1983
VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. -
November 1987
EDUCATION DRIVER'S SEAT Playing In Two or Four by Ed Shaughnessy 48 IN THE STUDIO Those First Sessions by Craig Krampf 50 ROCK 'N' JAZZ CLINIC Two-Surface Riding: Part 1 by Rod Morgenstein 52 CORPS SCENE Flim-Flams by Dennis DeLucia 66 MASTER CLASS Portraits in Rhythm: Etude #9 by Anthony J. Cirone 76 ELECTRONIC INSIGHTS MIDI System Interconnections by Jim Fiore 78 ROCK CHARTS Carl Palmer: "Brain Salad Surgery" by William F. Miller 80 Cover Photo by Michael S. Jachles ROCK PERSPECTIVES Ringo Starr: The Middle Period by Kenny Aronoff 90 RANDY CASTILLO JAZZ DRUMMERS' WORKSHOP Imagine this: You are at home with a broken leg, and you get a Your Drum Setup call to audition for Ozzy Osbourne. That happened to Randy by Peter Erskine 94 Castillo, and he got the gig. Here, he discusses such topics as SOUTH OF THE BORDER his double bass drum work and showmanship in drumming. Latin Rhythms On Drumset by John Santos 96 by Robyn Flans 16 CONCEPTS The Natural Drummer CURT CRESS by Roy Burns 104 Known for his work in Germany's recording studios and his CLUB SCENE playing with the band Passport, Curt Cress has also recorded Hecklers And Hasslers with Freddie Mercury, Meatloaf, and Billy Squier. Curt by Rick Van Horn 106 explains why the German approach is attracting British and EQUIPMENT American artists and producers. SHOP TALK by Simon Goodwin 22 Evaluating Your Present Drumset by Patrick Foley 68 PRODUCT CLOSE-UP DRUMMERS OF Pearl MLX/BLX Pro Series Drumkits by Bob Saydlowski, Jr 110 CONTEMPORARY ELECTRONIC REVIEW Korg DDD-1 Drum Machine CHRISTIAN MUSIC: by Rick Mattingly 112 NEW AND NOTABLE 124 PART 1 PROFILES John Gates, Art Noble, and Keith Thibodeaux discuss their PORTRAITS work with a variety of Christian music bands, and clarify what Thurman Barker Christian music is and what it is not. -
Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label. -
Howlin Wolf 1991.Pdf
FOREFATHERS Howlin’ W olf JUNE 10,1910 - JANUARY 10,1976 BY PETER GURALNICK OWLIN’ WOLF WAS LARGER than life in every respect. As an entertainer, as an individual, and as a bluesman, he was outsized, unpredictable, and always his own man. He was a great blues singer who pos sessed that quality of egocentric self-absorption that is the mark of the true showman. To many people this may seem contradictory, but Wolf proved that to its natural audience blues is not all pain and suffering, but is instead a kind of re his voice that was his crowning glory, a voice which could lease. When you listen to the blues, you should be moved; fairly be called inimitable, cutting with a sandpaper rasp and doubtless you should take the deep blues of a singer like overwhelming ferocity but retaining at the same time a curi Muddy Waters or Howlin’ Wolf with the sense of dignity that ous delicacy of shading, a sense of dynamics and subtlety of is intended. You should also come away with a smile on your approach that set it off from any other blues singer’s in that lips. rich tradition. It combined the rough phrasing of Patton with Howlin’ Wolf was a totally enigmatic personality. He was the vocal filigree of Tommy Johnson and its familial descen a man at once complex, driven, and dant: the blue yodel of Jimmie altogether impossible to read. I think WOLF’S RIGHT HAND: Rodgers, a white country singer he was as much a mystery to his HUBERT SUMLIN, LEAD GUITAR whom Wolf always admired. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Downbeat.Com July 2015 U.K. £4.00
JULY 2015 2015 JULY U.K. £4.00 DOWNBEAT.COM DOWNBEAT ANTONIO SANCHEZ • KIRK WHALUM • JOHN PATITUCCI • HAROLD MABERN JULY 2015 JULY 2015 VOLUME 82 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall 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] Classified Advertising Sales 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, Howard Mandel, 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, -
EARTH, WIND & FIRE -‐ Bio XRIJF JUNE 20-‐28, 2014 During the 1970S
EARTH, WIND & FIRE - Bio During the 1970s, a new brand of pop music was born - one that was steeped in African and African- American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music...which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force- feeding listeners' spiritual content." Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs. -
Click Here to Continue
Premieres Sunday September 28 at 9pm on This interactive document contains printable pages, downloadable photography, a video sample, music samples, and a link to The Blues Web site at www.pbs.org/theblues. Note that you can elcome navigate this document using the table of contents and the navigation buttons on each page. W Click here to continue. This document automatically adjusts to the size of your screen. The view may be adjusted under the View menu. Click below to navigate What is the Blues? Series Release Fact Sheet About the Films Director and Producer Biographies Performances in The Blues Quotes for The Blues Volkswagen “Celebrates the Arts” Release Contents Photography Index Video Sample Music Samples www.pbs.org/theblues Home pbs.org/theblues By Jason Emmons and edited by Robert Santelli, Blues Historian and Director & CEO of Experience Music Project In 1903 W. C. Handy, the African American leader of a dance orchestra, got stuck one night waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep at the empty depot on a hard wooden bench. When he woke, a ragged black man was sitting next to him, singing about “goin’ where the Southern cross the Dog” and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered it with his guitar. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo & Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and he’d put it into a song. -
CLINE-DISSERTATION.Pdf (2.391Mb)
Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright. -
For Immediate Release
Ann Hickey 312/744-4306 [email protected] The City of Chicago Announces The Chicago Jazz Partnership as the Presenting Sponsor for the Chicago Jazz Festival August 28-31, 2008 The City of Chicago and new presenting sponsor, The Chicago Jazz Partnership, are proud to announce the complete schedule for the 2008 Chicago Jazz Festival. This Labor Day weekend tradition begins with a free evening concert featuring Sonny Rollins at Millennium Park’s Jay Pritzker Pavilion on August 28, moves to Grant Park for three full days of free music, August 29-31, and closes with Ornette Coleman (complete schedule below). Rollins, a GRAMMY® Lifetime Achievement Award recipient, officially opens The Chicago Jazz Festival on August 28 at 6:30 p.m. at a new location, the world-renowned Jay Pritzker Pavilion in Millennium Park. Rollins is one of the last of the originals—a running mate of Miles Davis, Clifford Jordan and Max Roach, he was among the inventors of the language of Bebop. Rollins emerged from Chicago in the 1950s with a signature sound that has astounded audiences and inspired countless musicians for more than 50 years. The Chicago Jazz Festival then moves to Grant Park, August 29-31, with three stages of free music, activities and more from 11:00 a.m. to 9:30 p.m. daily. This year’s Artist-in-Residence is Chicago-based composer, arranger, musician and educator, Edward Wilkerson, Jr. Other headliners include Dee Dee Bridgewater, Eddie Palmieri and The Gerald Wilson Orchestra. Closing out the event on Sunday, August 31 at the Petrillo Music Shell is saxophonist/composer Ornette Coleman. -
A Power Stronger Than Itself
A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY