JIMMY COBB NEA Jazz Master (2009)
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Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S
IN THIS ISSUE: ir An interview with KAY STARR, Pt. 2 ir Reviews of BOOKS AND RECORDS to consider BIG ☆ A new KEY RECORDINGS BAND SINGER BIG BAND TRIVIA QUIZ JUMP ★ LETTERS TO THE EDITOR about HARRY JAMES, ANITA O’DAY, MICHEL NEWSLETTER LEGRAND, PBS STATIONS and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE PAID A£hnta,GA 30355 Atlanta, GA Permit No. 2022 BIG BAND JUMP N EWSLETTER VOLUME 94 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2004 INTERVIEW WITH KAY STARR (Part Two) The Background In the last issue, we had Kay Starr’s comments about her early start in the singing business; her penchant for singing at age nine for the neighbors and her family. At first, Kay’s mother was hesitant, but her aunt had a business sense and saw that there was a future for Kay, insisting that she enter a number of amateur contests, leading to her performances at radio stations in Dallas and Memphis and finally being hired by famous violin ist and bandleader Joe Venuti whose guidance helped her achieve fame. She told us about her work with the Bob Crosby Band, her one week stint subbing for Marion Hutton with Glenn Miller at Glen Island Casino and her years with the Charlie Barnet Band, where she recalled pressing Kay Starr Capitol CD cover the band ’ s uniforms as well as being a featured vocalist. Jimmy Dorsey’s band. That why they didn’t have her. The Scene But they had every other girl singer. A girl singer they did not need. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
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 -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Tune Suggestions by Jerry Coker
Tune suggestions by Jerry Coker. Vol: 1 How to Play Jazz Track 6 – 4 measure cadences, Track 9 – Cycle of Dominant. Vol: 2 Nothing but Blues Track 4 – Slow Blues, Track 5 - Fast Blues, Snap, Crackle & pop Vol: 3 II V7 I Track 3 – ii V7 I Major, Track 2 – Random ii V7 I, Track 4 – ii V7 I minor. Vol: 4 Movin’ On Magic Morning Vol: 6 Charlie Parker Now’s the Time, Billie's Bounce, Confirmation, Ornithology, Scrapple for the Apple, Yardbird Suite. Vol: 7 Miles Davis Four, Old Milestones, Solar, Dig Vol: 8 Sonny Rollins Airegin, Doxy, Oleo Vol: 10 David Baker Le Miroir Noir Vol: 12 Duke Ellington Perdido Vol: 14 Benny Golson Killer Joe Vol: 16 Turnarounds Track 7 – Coltrane changes, Track 9 – Rhythm Changes, Track 11 – Some of the Things I Am, Track 12 – Guess What Key I'm In Vol: 17/18 Horace Silver Song for My Father, Strolling, Barbara, Ecorah, Nica’s Dream, Room 608, Silver Serenade, Sister Sadie Vol: 19 David Liebman Lookout Farm, Piccadilly Lilly VolL 21 Minor/Minor Majors: Track 1 & 2, Track 14 dominants b9, Dominant 7th up and down chromatic Track 3 Vol: 27/28 John Coltrane Giant Steps, Countdown, Impressions, 26-2, A Love Supreme Vol: 33 Wayne Shorter all of it Vol: 34 Jam Session Just Friends, Spring Is Here, Star Eyes, On Green Dolphin Street Vol: 35 Cedar Walton Cedars Blues, Bolivia, Clockwise, Hand in Glove, Firm Roots, Ojos de Rojo. Vol: 36 Bebop and Beyond Freight Trane, Ray's Idea Vol: 41 Body and Soul Body and Soul, Alone Together, What Is This Thing Called Love Vol: 48 In A Mellow Tone In A Mellow Tone, I Got I t Bad, Warm Valley, I Didn't Know About You, Do Nothing Till You Here From Me. -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
CONGRESSIONAL RECORD — Extensions of Remarks September 17, 2009 Jewish Studies and Emeritus Fellow for Fiscal Responsibility Act
E2302 CONGRESSIONAL RECORD — Extensions of Remarks September 17, 2009 Jewish Studies and Emeritus Fellow for Fiscal Responsibility Act. As a member of the the 2009 National Endowment for the Arts, Wolfson College, and is a lecturer at Oxford Appropriations Subcommittee on Labor, HHS, NEA Jazz Masters award. He was also hon- University and throughout the world. and Education, with the responsibility for fund- ored with his own album on the Marsalis In addition, Vermes is a Fellow of the British ing these programs, I want to thank Chairman Music Honors Series. Academy (1985) and the European Academy MILLER for crafting this important bill and bring- He currently performs and tours with his So of Arts, Sciences and Humanities (2001), hold- ing it to the floor. What Band, featuring Miles Davis’ prote´ge´ er of an Oxford higher doctorate and honorary Education is the key to ensuring that our fu- Wallace Roney on trumpet, Vincent Herring on doctorates from the universities of Edinburgh ture leaders, scientists, teachers, doctors and alto saxophone, Javon Jackson on tenor sax, (1989), Durham (1990), Sheffield (1994) and others are well prepared to be globally com- Larry Willis on piano, and Buster Williams on the Central European University of Budapest petitive. This legislation will help countless stu- bass. (2008). dents realize the dream of going to college by: To commemorate the 50th anniversary of On September 24, Vermes will be a guest (1) Improving college access and completion; Kind of Blue, Jimmy and the So What Band lecturer at the University of Louisiana—Mon- (2) Increasing Pell Grant awards and expand- will perform on September 24, 2009 in Wash- roe. -
Miles Davis Jazz Track Mp3, Flac, Wma
Miles Davis Jazz Track mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Track Country: France Style: Hard Bop MP3 version RAR size: 1539 mb FLAC version RAR size: 1772 mb WMA version RAR size: 1272 mb Rating: 4.9 Votes: 210 Other Formats: VOC MP4 AHX MP3 WAV FLAC AC3 Tracklist Hide Credits Ascenseur Pour l'Echafaud Générique A1 –The Miles Davis Quintet 2:45 Written-By – Miles Davis L' Assassinat De Carala A2 –The Miles Davis Quintet 2:10 Written-By – Miles Davis Sur L' Autoroute A3 –The Miles Davis Quintet 2:15 Written-By – Miles Davis Julien Dans L' Ascenseur A4 –The Miles Davis Quintet 2:07 Written-By – Miles Davis Florence Sur Les Champs-Élysées A5 –The Miles Davis Quintet 2:50 Written-By – Miles Davis Dîner Au Motel A6 –The Miles Davis Quintet 3:58 Written-By – Miles Davis Évasion De Julien A7 –The Miles Davis Quintet 0:53 Written-By – Miles Davis Visite Du Vigile A8 –The Miles Davis Quintet 2:00 Written-By – Miles Davis Au Bar Du Petit Bac A9 –The Miles Davis Quintet 2:50 Written-By – Miles Davis Chez Le Photographe Du Motel A10 –The Miles Davis Quintet 3:50 Written-By – Miles Davis Jazz Track On Green Dolphin Street B1 –The Miles Davis Sextet 9:48 Written-By – Kaper*, Washington* Fran-Dance B2 –The Miles Davis Sextet 5:48 Written-By – Davis* Stella By Starlight B3 –The Miles Davis Sextet 4:45 Written-By – Washington*, Young* Credits Alto Saxophone – Cannonball Adderley (tracks: B1 to B3) Bass – Paul Chambers (tracks: B1 to B3), Pierre Michelot (tracks: A1 to A10) Drums – Jimmy Cobb (tracks: B1 to B3), Kenny Clarke (tracks: A1 to A10) Piano – Bill Evans (tracks: B1 to B3), René Urtreger (tracks: A1 to A10) Tenor Saxophone – Barney Wilen (tracks: A1 to A10), John Coltrane (tracks: B1 to B3) Trumpet – Miles Davis Barcode and Other Identifiers Rights Society (A side): BIEM Other (B side): E.M. -
Ella Fitzgerald with the Tommy Flanagan Trio
Ella Fitzgerald Montreux '77 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Montreux '77 Country: Europe Released: 2002 Style: Latin Jazz, Swing, Bossa Nova MP3 version RAR size: 1822 mb FLAC version RAR size: 1152 mb WMA version RAR size: 1164 mb Rating: 4.8 Votes: 109 Other Formats: AC3 MP4 MP2 AU AA DTS DMF Tracklist 1 Too Close For Comfort 3:27 2 I Ain't Got Nothin' But The Blues 4:07 3 My Man 3:48 4 Come Rain Or Come Shine 2:30 5 Day By Day 1:46 6 Ordinary Fool 3:20 7 One Note Samba 6:26 8 I Let A Song Go Out Of My Heart 4:31 9 Billie's Bounce 4:49 10 You Are The Sunshine Of My Life 3:53 Companies, etc. Recorded At – Montreux Jazz Festival Credits Bass – Keter Betts Drums – Bobby Durham Piano – Tommy Flanagan Producer – Norman Granz Vocals – Ella Fitzgerald Notes Made in Germany by ZYX Manufactured under license for distribution by ZYX-Music. Issued in digipak with a 4-page booklet. Barcode and Other Identifiers Barcode: 0 90204 87185 8 Other versions Category Artist Title (Format) Label Category Country Year Ella Fitzgerald Ella Fitzgerald With The 2308-206 With The Tommy Tommy Flanagan Trio* - Pablo Live 2308-206 US 1977 Flanagan Trio* Montreux '77 (LP, Album) Ella Fitzgerald Ella Fitzgerald With The 2308 206 With The Tommy Tommy Flanagan Trio* - Pablo Live 2308 206 UK 1977 Flanagan Trio* Montreux '77 (LP, Album) Ella Fitzgerald With Ella Fitzgerald Original OJC20 Tommy Flanagan Trio - OJC20 With Tommy Jazz Spain 2004 376-2 Montreux '77 (CD, 376-2 Flanagan Trio Classics Album, RE) Ella Fitzgerald Ella Fitzgerald With -
Psaudio Copper
Issue 133 MARCH 29TH, 2021 Copper has a new look! So does the rest of the PS Audio website, the result of countless hours of hard work. There's more functionality and easier access to articles, and additional developments will come. There will be some temporary glitches and some tweaks required – like high-end audio systems, magazines sometimes need tweaking too – but overall, we're excited to provide a better and more enjoyable reading experience. I now hand over the column to our esteemed Larry Schenbeck: Dear Copper Colleagues and Readers, Frank has graciously asked if I’d like to share a word or two about my intention to stop writing Too Much Tchaikovsky. So: thanks to everyone who read and enjoyed it – I wrote it for you. If you added comments occasionally, you made my day. I also wrote the column so I could keep learning, especially about emerging creatives and performers in classical music. Getting the chance to stumble upon something new and nourishing had sustained me in the academic world – it certainly wasn’t the money! – and I was grateful to continue that in Copper. So why stop? Because, as they say, there is a season. It has become considerably harder for me to stumble upon truly fresh sounds and then write freshly thereon. Here I am tempted to quote Douglas Adams or Satchel Paige, who both knew how to deliver an exit line. But I’ll just say (since Frank has promised to leave the light on), goodbye for now. The door is open, Larry, and we can’t thank you enough for your wonderful contributions.