Jazz, Gospel, and Rap
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Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next. -
SKIVLISTA SU VT 17 (+ Tips) SEM 1: CHARLIE PARKER
SKIVLISTA SU VT 17 (+ tips) SEM 1: CHARLIE PARKER - ”Cherokee”, 1942 (The Baronesse) - ”Confirmation” -53 (CP Quartet, In Person) DIZZY GILLESPIE - ”Woodyn´You” (DG the Verve & Philips small group sessions) - ”Hot House” 1945, (Charlie Parker Quintet) MILES DAVIS - ”Little Willie Leaps” 1947 (Parker på tenorsax) - ”On Green Dolphin Street” -59 (Kind of Blue, Legacy) - ”Jean Pierre”, 1982 (We Want Miles) STAN GETZ - ”Three Little Words”, -58 (SG and the Oscar Peterson Trio) - ”Blood Count”, 1987 (m Kenny Barron, Live at Montmartre) ”I´m late, I´m late”, 1961 (Focus) CANNONBALL ADDERLY MED JOHN COLTRANE - ”Limehouse Blues” -59, (Cannonball Quintet in Chicago) SEM 2: SONNY STITT - ”I´ll Remember April”, -59, (SS with the Oscar Peterson Trio) - ”I Want to be Happy”, -51, (SS Quartet with Bud Powell) - ”Dark Eyes”, -58, (For Musicians Only, m Dizzy, Getz) J. J. JOHNSON - ”Lover Man”, -53 (m Clifford Brown, Brownie Speaks) - ”Riviera”, (All That Jazz vol 76, Jay & Kai) JULIAN CANNONBALL ADDERLEY - ”Star Eyes”, (The very Best of CA Quintet ) - Limehouse Blues” (CA Quintet Live in Chicago -59) CLIFFORD BROWN - ”Come Rain or Come Shine”, (Gigi Gryce – Clifford Brown Sextet, Paris -53) - ”Stardust”, (CB with Strings, -55) SEM 3. DIZZY GILLESPIE - ”Manteca”, (D.G. Big Band 1947 m Cano Pozo – congas) - ”Groovin High” (Live at Birdland, NYC, 1956) COUNT BASIE - ”April in Paris”, (April in Paris, Verve, 1957) - ”Midnight Blue”, (The Atomic Basie, 1957) DUKE ELLINGTON - ”Black & Tan Fantasy”, (D.E. at Newport 1956) - ”Diminuendo in Blue” , (------- @ --------) STAN KENTON - ”Lover” , (100 years anniversary edition) HARRY ARNOLD - ”Easy Living”, (Live radio 1959, voc Monica Z) GERRY MULLIGAN - ”Broadway”, (G.M. -
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. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory. -
A Course in Spoken English for Navajos: Second Year Program
DOCUMENT RESUME ED 074 802 FL-003 72.5 AUTHOR DeNunzic, Vincent TITLE A Course in Spoken English for Navajos: Second Year Program. Language Laboratory No. II. INSTITUTION Bureau of Indian Affairs (Dept. of Interior), Washington, D.C. PUB GATE 67 NOTE 429p. EDRS PRICE MF-$0.65 HC-$16.45 DESCRIPTORS Cultural Enrichment; English; *English (Second Language); *Instructional Materials; Language Development; Language Enrichment; *Language Instruction; *Language Laboratory Use; Lesson Plans; Navaho; Oral English; Pattern Drills '(Language);, Phonetics; *Phonics; Second Language Learning; Speech Skills ABSTRACT This manual rresents lesson plans for a secondyear course in spoken English for Navahos, based upon one hour of instruction five days a week. It contains a review of troublesome sounds, conversational dialogues, and work with the grammatical structure of spoken English. Actual conversational situations are used to teach the speaking patterns necessary to function ina given situation. Automatic two- and three-way exchanges are also used. The manual concentrates on phonics, cultural enrichment through the presentation of prose and poetry, and exercises to increase skills in spoken English. Included are plans for work in the language laboratory.(Author/SK) U.S. DEPARTMENT Of HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. UNITED STATES DEPARTMENT OF THE INTERIOR STEWART L. UDALL, SECRETARY BUREAU OF INDIAN AFFAIRS ROBERT L. BENNETT, COMMISSIONER DIVISION OF EDUCATION CHARLES N. ZELLERS ASSISTANT COMMISSIONER (EDUCATION) LANGUAGE LABORATORY NO. H for A COURSE IN SPOKEN ENGLISH FOR NAVAJOS Designed for Navajos with 3rd to 7th grade reading achievement who are learning to speak English as a second language. -
LINER NOTES Print
LONG NOTES GEORGE WINSTON LINUS AND LUCY – THE MUSIC OF VINCE GUARALDI – VOL. 1: George Winston on Vince Guaraldi (Vince’s name is pronounced “Gurr-al-dee”, beginning with a hard “G) “Vince Guaraldi once said that he wanted to write standards, not just hits, and that he did,” says George Winston. “His music is very much a part of the fabric of American culture, but not many people know the man behind the music, and it is unusual for someone’s music to be better known than their name (some other composers who have also been in this situation are Allen Toussaint, Randy Newman (in the early and mid 1960s), Joni Mitchell (in the mid 1960s), Leonard Cohen (in the mid-1960s), Laura Nyro, Percy Mayfield, Otis Blackwell, and Wendy Waldman). If I play Linus & Lucy and other Vince Guaraldi Peanuts pieces for most kids they will usually say right away, ‘That’s Charlie Brown music’. Vince’s soundtracks for the first 16 of the Peanuts animations from the 1960s & 1970s continue to delight millions of people around the world, and many of his albums remain in print. I like to help make the connection for people that Vince Guaraldi was a great jazz pianist, and that he was the composer of the soundtracks for the first 16 of the Peanuts animation, as well as of many other great jazz pieces. Vince’s best known standards are Cast Your Fate to the Wind, Linus and Lucy, Christmas Time is Here, as well as Skating, and Christmas is Coming. A lot of Vince’s music is seasonal, and it reminds me very much of my upbringing in Montana. -
Results by Session
SALE RESULTS LIST BY SESSION 2010 Winter Mixed Sale 1/14/2010 - 1/16/2010 SESSION ONE /Quarter Horse Session Hip # Horse (Sex) / Sire-Dam / [Covering Sire] Buyer State Price 1 BB Stone (G) Earl Houston UT $900 SC Chiseled In Stone-Baby B Bold 2 Mr Bohica (G) Jason & Leslie Willis SC $1,700 Apollo (TB)-Bac By Design 3 Bada Bugs (M) Repurchase $1,000 One Rare Bug-Bada Bing 4 Miss Blushing Barbi (M) Damon Hodges TX $2,000 Blushing Bug-Barbi Bugs 5 Chakote (M) Martin Perez NM $1,800 Brimmerton-Barbs Bug Dash 6 Von Can Run (C) Anton Kudacak TX $2,200 Conner Can-Baroness Von Run 7 BCR Really A Lou Lou (M) Repurchase $7,500 For Really (TB)-BCR Cindy Lou [Wave Carver] 8 Catch This Dash (M) James W. Pruitt TX $15,000 First Down Dash-Beat Your Pants OFF [Heza Motor Scooter] 9 Thatbeatsall (M) Mike C. Abraham NM $20,000 Check Him Out-Beat Your Pants OFF [Walk Thru Fire] 10 Miss Beau Windy (M) Withdrawn LA Gros Oreille-Beau Windy [Panther Mountain] 11 Red River Moonshine (G) Earl Houston UT $1,200 First To Shine-BeautiFul Bag 12 A Dash OF Beauty (M) Greg Morrison MI $2,000 A Classic Dash-BeautiFul Beduino [Simply Macho] 13 An Ocean Rocket (G) Withdrawn LA Ocean Runaway-Bebes Ronas Rocket 14 Magical Mambo (F) Bob or Marie Broadstock CAN $5,500 Check Him Out-Beduino Dancer 15 Miss Beduino Cash (M) Claude Roles AR $6,000 Mr Eye Opener-Begum Bedunio [Scrutinizer] 16 Bonito Soy (G) Aurelia Valencia OK $3,000 Make It Anywhere-Bellasera 17 Back To Our Feature (M) Withdrawn CA Feature Mr Jess-Best To Be First [Carters Cartel] 18 Let Me Upgrade (M) Colin -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
Freddie Freeloader Miles Davis' Solo, 'Kind of Blue' Miles Davis Chorus 1 Med
Freddie Freeloader Miles Davis' Solo, 'Kind of Blue' Miles Davis Chorus 1 med. swing G7 C7 G7 bœ œ œ 4 œ œ œ œ œ™ œ œ œ œ œ Alto Saxophone & 4 Œ Ó Œ J Ó Œ 5 C7 G7 <b> œ œ œ œ œ™ œ œ œ œ & Ó Œ J œ Œ ∑ 9 A‹7 D7 E¨Œ„Š7(#5) œ œ™ ˙ œ nœ œ #œ œ œ œ œ œ œ œ nœ bœ œ œ & œ œ œ Œ J G7 Chorus 2 C7 G7 13 œ œ œ œ œ œ œ œ œ ¿ œ & Ó œ Œ Ó Ó bœ œ œ 17 C7 G7 bœ œ™ bœ œ œ œ œ Jû œ ˙ œ œ œ œ & Œ Ó Œ ‰ J 21 A‹7 D7 E¨Œ„Š7(#5) œ #œ™ œ œ œ œ œ œ œ nœ œ b˙™ œ bœ nœ œ & J ˙ û Ó Chorus 3 25 G7 œ œ C7 œ œ œ œ G7 œ ™ ¿. œ œ œ ˙ œ œ & J ‰ Ó ‰ J J Ó Œ 29 C7 G7 œ œ bœ œ œ œ nœ œ œ œ & û Ó œ Ó Ó Œ ‰ J 33 A‹7 D7 œE¨Œ„Š7(#5) œnœ œ œ œ#œ œ œ œ œ œ œ nœ œ œ bw œ & œ œ Œ ‰ J Chorus 4 2 G7 C7 G7 37 w ˙ œ œ œ ˙ œ œ œ œ™ bœ & Œ Œ ‰ J J 41 C7 G7 œ (8va) <b> œ œ bœ œ œ œ œ j & Ó Œ œ Ó Ó ‰ œ œ œ 45 A‹7 D7 E¨Œ„Š7(#5) œ œ œ œ œ œ œ ˙ œ - - œ œ œ & Œ œ œ œ bœ œ œ Ó ‰ J Chorus 5 49 G7 C7 G7 œ œ w ˙ œ œ œ œ ˙ œ œ œ & Œ Ó 53 C7 G7 œ bœ œ œ ¿ œ œ œ ˙ œ œ & Ó Œ Ó Ó ‰ J 57 A‹7 D7 E¨Œ„Š7(#5) œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ nœ bœ œbœ œ œ & œbœbœ œ œ Ó 3 Chorus 6 G7 61 œ C7 G7 nœ œ œ bœ œ œ & œ n œ Œ Ó Œ Œ Ó ∑ C7 G7 65 (8va) bœ œ . -
RAGLAN ROAD on Raglan Road on an Autumn Day, I Saw Her First And
RAGLAN ROAD MOLLY MALONE On Raglan Road on an Autumn Day, I saw her first and knew In Dublin's fair city, That her dark hair would weave a snare Where girls are so pretty, That I may one day rue. I first set my eyes on sweet Molly Malone, I saw the danger, yet I walked As she pushed her wheelbarrow Along the enchanted way Through streets broad and narrow, And I said let grief be a falling leaf Crying, "Cockles and mussels, alive, alive oh"! At the dawning of the day. Alive, alive oh! alive, alive oh! On Grafton Street in November, Crying, "Cockles and mussels, alive, alive oh"! We tripped lightly along the ledge Of a deep ravine where can be seen Now she was a fishmonger, The worst of passions pledged. And sure twas no wonder, The Queen of Hearts still baking tarts For so were her mother and father before, And I not making hay, And they each wheeled their barrow, Well I loved too much; by such and such Through streets broad and narrow, Is happiness thrown away. Crying, "Cockles and mussels, alive, alive oh"! I gave her the gifts of the mind. Alive, alive oh! alive, alive oh! I gave her the secret sign Crying, "Cockles and mussels, alive, alive oh"! That's known to all the artists who have Known true Gods of Sound and Time. She died of a fever, With word and tint I did not stint. And no one could save her, I gave her reams of poems to say And that was the end of sweet Molly Malone. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.