ART PEPPER Texto
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
European Journal of American Studies, 12-4
European journal of American studies 12-4 | 2017 Special Issue: Sound and Vision: Intermediality and American Music Electronic version URL: https://journals.openedition.org/ejas/12383 DOI: 10.4000/ejas.12383 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-4 | 2017, “Special Issue: Sound and Vision: Intermediality and American Music” [Online], Online since 22 December 2017, connection on 08 July 2021. URL: https:// journals.openedition.org/ejas/12383; DOI: https://doi.org/10.4000/ejas.12383 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling Looking Hip on the Square: Jazz, Cover Art, and the Rise of Creativity Johannes Voelz Jazz Between the Lines: Sound Notation, Dances, and Stereotypes in Hergé’s Early Tintin Comics Lukas Etter The Power of Conformity: Music, Sound, and Vision in Back to the Future Marc Priewe Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) Johanna Hartmann “Talking ’Bout My Generation”: Visual History Interviews—A Practitioner’s Report Wolfgang Lorenz European journal of American studies, 12-4 | 2017 2 Introduction. Sound and Vision: Intermediality and American Music Frank Mehring and Eric Redling 1 The medium of music represents a pioneering force of crossing boundaries on cultural, ethnic, racial, and national levels. Critics such as Wilfried Raussert and Reinhold Wagnleitner argue that music more than any other medium travels easily across borders, language barriers, and creates new cultural contact zones (Raussert 1). -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
ONLINE AUCTION: Thursday, Nov
ONLINE AUCTION: Thursday, Nov. 12th, 2020 from 4 - 10 p.m. INSTRUCTIONS AND BIDDING BOOK About the Lynn Institute: The Lynn Institute for Healthcare Research, a 501(c)(3) nonprofit organization, is committed to helping communities, neighborhoods, and vulnerable populations with health and lifestyle conditions that are impacting overall health. We identify at-risk populations, define unique health risks, publish findings, assemble collaboratives, create programs and develop sustainable plans with measurable goals and objectives to improve the health and hope of communities. Our Work Includes: Research Studies / Outcome-Based Initiatives Collaboratives Community Impact & Engagement - Zoo4U & Science4U Health & Lifestyle Programs: ¡ Count Me In 4 Kids ¡ HealthRide OKC / Prescription Co-Pay Assistance ¡ Foundations of Wellness / On the Road to Health Classes ¡ Planting Urban Gardens ¡ Health Screenings ¡ Food distributions of fresh produce and lean meats for nutrition and health; (Since August 2019, the Lynn Institute has distributed more than 350,000 pounds of fresh produce to impoverished neighborhoods in the OKC metro.) HOW CAN YOU HELP? It requires funding to offer the programs and provide impoverished communities access to basic life needs that most of us take for granted. ¡ Please take the opportunity this Thursday, November 12th from 4 – 10 p.m. to bid on and buy the incredible works of art that have been generously created by artists from around the state; ¡ Not bidding? You can still donate to the Lynn Institute on the auction site; and, ¡ Visit our Chairity partner, the North Gallery & Studios in the Shoppes at Northpark or the other galleries around our state where our individual artists show their work. -
The Destruction of Art
1 The destruction of art Solvent form examines art and destruction—through objects that have been destroyed (lost in fires, floods, vandalism, or, similarly, those that actively court or represent this destruction, such as Christian Marclay’s Guitar Drag or Chris Burden’s Samson), but also as an undoing process within art that the object challenges through form itself. In this manner, events such as the Momart warehouse fire in 2004 (in which large hold- ings of Young British Artists (YBA) and significant collections of art were destroyed en masse through arson), as well as the events surrounding art thief Stéphane Breitwieser (whose mother destroyed the art he had stolen upon his arrest—putting it down a garbage disposal or dumping it in a nearby canal) are critical events in this book, as they reveal something about art itself. Likewise, it is through these moments of destruction that we might distinguish a solvency within art and discover an operation in which something is made visible at a time when art’s metaphorical undo- ing emerges as oddly literal. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup them in their absence. This might be observed through recent projects, such as Jonathan Jones’s Museum of Lost Art, the Tate Modern’s Gallery of Lost Art, or Henri Lefebvre’s text The Missing Pieces; along with exhibitions that position art as destruction, such as Damage Control at the Hirschhorn Museum or Under Destruction by the Swiss Institute in New York. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
LPB & Your EBRP Library Want to See Your Shelfie!
JUNE 2018 We’re excited because it’s finally time for the FREE Movies on the Plaza Series to return! Everyone can come to the Main Library at Goodwood at 7 p.m. every Friday in June. We’ll play a fun movie on the BIG screen in the Outdoor Plaza that the whole family will enjoy. Feel free to bring your lawn chair or blanket to sit comfortably while you watch. We also will simulcast the film in the Large Meeting Room for those who prefer an air conditioned option. Local vendors and food trucks will be on site for the purchase of refreshments. Here’s the movie schedule: ★★★★★ ★★★★★ ★★★★★ ★★★★★ ★★★★★ ~ June 8 ~ ~ June 15 ~ ~ June 1 ~ ~ June 22 ~ Beauty and the Diary of a Despicable Me 3 ~ June 29 ~ The Lion King Beast (1991) Wimpy Kid Moana ★★★★★ ★★★★★ ★★★★★ ★★★★★ ★★★★★ LPB & Your EBRP Library Want to See Your Shelfie! Say cheese! In preparation for The Great American Read which will air on Louisiana Public Broadcasting (LPB) starting September 11, through October 23, LPB is having a “Shelfie” contest! Between Friday, June 1, and Tuesday, July 31, go to your local Library location and take of photo of yourself with any of the 100 of America’s Best Loved Books. A complete list can be found at lpb.org/greatamericanread. Share your “Shelfie” on Instagram, and be sure to tag it with @lpb_org, #GreatReadPBS and #ebrpl. On Friday, August 3, LPB will draw five “Shelfies” at random and each will win an LPB mug, T-shirt and booklight. For more information, visit the Great American Read InfoGuide at https://ebrpl.libguides.com/greatamericanread. -
In This Issue
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC In This Issue Carmen Bradford Jay Clayton Bruce Ditmas George Gruntz John McLaughlin Dennis Mackrel Pete LaRoca Buster Williams art pepper on vinyl Cafe society book review Volume 39 Number 2 April may june 2013 MAKAYA MCCRAVEN DRUMS ANDREW TOOMBS PIANO TIM SEISSER BASS “a fresh take on the age-old piano trio, catapulted by McCraven’s propulsive percussion into an orbit that few first-time groups ever achieve.”– Neil Tesser AARON KOPPEL GUITAR MATT NELSON PIANO, RHODES, HAMMOND B-3 GRAHAM CZACH BASS ROBERT TUCKER DRUMS HHHH “There’s always a twist when the forward-thinking guitarist Aaron Koppel is in the picture... The band knows how and where to take chances.” – Jon Ross, Downbeat Available at : CDBaby, iTunes, Amazon ChicagoJazz.com & everywhere www.chicagosessions.com 2013 RELEASES ON SLAM "DAY FOR NIGHT AT JACK STraW" David Haney piano, Julian Priester trombone, Buell Neidlinger bass. Marc Smason trombone, shofar, Doug Haning contra alto clarinet, Dan Blunck tenor sax and flute, Frank Clayton bass, Juan Pablo Carletti drums. "JUST FLUX" “FREE-DOT”, the duo of Antonio Cotardo flutes, voice, bells, piano and Paolo Pacciolla drums, berimbao, mbira, voice, Jew’s harp, household percussion, piano. "RENEGADE" Esmond Selwyn guitar, Paul Sawtell keyboards, Bill Coleman bass, Tony Richards drums DOUBLE CD SLAMCD 291 www.slamproductions.net [email protected] Bernard “Pretty” Purdie And the beat goes on…Share a musical experience with me…. I am available for: Private Lessons-Master Classes-Clinics-Concerts -
Ðрт Ðÿðµð¿Ñšñ€ Ðлбуð¼ ÑпиÑÑšðº (Ð ´Ð¸Ñ
ÐÑ €Ñ‚ Пепър ÐÐ »Ð±ÑƒÐ¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð ´Ð¸ÑÐ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ ‚а & график) Straight Life https://bg.listvote.com/lists/music/albums/straight-life-1446067/songs So in Love https://bg.listvote.com/lists/music/albums/so-in-love-28452495/songs https://bg.listvote.com/lists/music/albums/art-pepper-with-warne-marsh- Art Pepper with Warne Marsh 2864557/songs New York Album https://bg.listvote.com/lists/music/albums/new-york-album-27818530/songs Modern Art https://bg.listvote.com/lists/music/albums/modern-art-11784473/songs Living Legend https://bg.listvote.com/lists/music/albums/living-legend-3257150/songs Popo https://bg.listvote.com/lists/music/albums/popo-1765447/songs Art 'n' Zoot https://bg.listvote.com/lists/music/albums/art-%27n%27-zoot-27818837/songs The Return of Art Pepper https://bg.listvote.com/lists/music/albums/the-return-of-art-pepper-9358181/songs Tokyo Debut https://bg.listvote.com/lists/music/albums/tokyo-debut-3530519/songs Art Pepper with Duke Jordan in Copenhagen https://bg.listvote.com/lists/music/albums/art-pepper-with-duke-jordan-in- 1981 copenhagen-1981-27818796/songs The Trip https://bg.listvote.com/lists/music/albums/the-trip-3523093/songs Art Pepper Today https://bg.listvote.com/lists/music/albums/art-pepper-today-3530231/songs The Art Pepper Quartet https://bg.listvote.com/lists/music/albums/the-art-pepper-quartet-3519815/songs Smack Up https://bg.listvote.com/lists/music/albums/smack-up-609881/songs The Early Show https://bg.listvote.com/lists/music/albums/the-early-show-1764297/songs Intensity -
As a Minority Comedy Album
EAST COASTINGS / POINTS WEST EAST COASTINGS - SHOW YOUR STUFF - When is a rock jock not a spinner of rec- Ariola Markets Gay Humor LP ords? When he's a musician who temporarily leaves the big stage to prove himself on the field of sport. Although the media has stereotyped rock and rollers as pale, gaunt, base- ment -haunting types without much athletic ability, the rock community will have its chance As A Minority Comedy Album to disprove these generalizations before a nationwide audience this spring when NBC-TV by Randy Lewis albums as well as doing con-edy writing for broadcasts a "rock olympics." Bill Aucoin is the organizer, but no further official details are and Rod LOS ANGELES Although Ariola America television. available at this time. It's easy to guess at a few possible events however; Elton - kicking soccer balls the width of Madison is promoting its new social comedy album "There is a yellow pages of gay bars in Garden and beyond, or a replay of "Out Of The Closet" in publications aimed America which we nave used and sent out Square famous' Eagles baseball games. No at the gay community, the producers of the records specifically aimed at a specific those will record said the company's marketing ap- market," said Howard Stark executive vice doubt Roger Daltrey once again show most of his peers. proach is not substantially different from president of Ariola. "But we're not just go- up was that for any other of their comedy records. ing for the gay market. It's called 'Out Of HE DID IT - Robert Gordon playing to "The most important thing about selling The Closet' because it is essentially gay his home -away -from -hometown crowd at New York Loeb Theater last a comedy album is that you must have a humor, but anybody that's even just a little University's a guest suddenly subject which is hot," said Bob Booker, who 'hip' can laugh at a lot of the things on it." weekend when surprise along with George Foster and Bruce Stark said when the album was recorded gave the concert a new dimension.