Late Night Concert

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Radio SRF 2 Kultur, Postfach CH-4002 Basel Late Night Concert 15.12.2017 22.00 – 24.00 BS 1-20242-1004 Redaktion: Beat Blaser Billy Cobham’s Crosswind Project 2.11.2017 Zurich Jazznojazz Festival 2017 CD EA SRF Crosswinds 7.20 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Pleasant Pheasant 6.50 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Taurian Matador 7.20 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Heather 8.40 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Spanish Moss 13.00 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Panama 13.10 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Cap Breton 6.20 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Stratus 16.20 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Red Baron 5.20 Billy Cobham Billy Cobham’s Crosswind Project @ Jazznojazz 2017 Billy Cobham, d; Ernie Watts, reeds; Scott Tibbs, keys; Fareed Haque, g; Tim Landers, b George Benson: “Giblet Gravy” CD (1968) Verve Sunny 2.53 Bobby Hebb George Benson – Giblet Gravy CD Verve 1968 What’s New 5.30 Haggyad-Burke George Benson – Giblet Gravy CD Verve 1968 Giblet Gravy 4.48 George Benson George Benson – Giblet Gravy CD Verve 1968 Walk On By 3.22 Bacharach-David George Benson – Giblet Gravy CD Verve 1968 Thunder Walk 4.40 Harold Ousley George Benson – Giblet Gravy CD Verve 1968 Sack O’Woe 3.06 Cannonball Adderley George Benson – Giblet Gravy CD Verve 1968 Groovin’ 2.43 Cavalieri-Brigati George Benson – Giblet Gravy CD Verve 1968 Billie’s Bounce 6.06 Charlie Parker George Benson – Giblet Gravy CD Verve 1968 George Benson, g; Herbie Hancock, p; Ron Carter, b; Billy Cobham, d; Johnny Pacheco, perc T 6+7: Ernie Royal, Snooky Young, Jimmy Owens, tp; Alan Raph, btb; Pepper Adams, bs; Tom McIntosh, arr + cond .

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Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
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For Additional Information Contact the Archives Center at 202.633.3270 Or [email protected]
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE BENSON NEA Jazz Master (2009) Interviewee: George Benson (March 22, 1943 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: April 17-18, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 108 pp. Brown: Today is April 17th, 2011. This is the Smithsonian Jazz Oral History Program interview with NEA Jazz Master, guitarist, vocalist, composer, and arranger George Benson in his house in Phoenix, Arizona, conducted by Anthony Brown with Marty Ashby and Ken Kimery present. Good afternoon, George Benson. Benson: Good afternoon. Brown: I just want to say, first of all, that it’s indeed a pleasure and an honor to be here to conduct this oral history interview for the national archives, and I just want to say that the last interview we conducted was with Hubert Laws, last month with Hubert Laws, and of course when I think of both of you, you two basically created the soundtrack for my college era in the ’70s, the music on CTI, and then you later on, on Warner Bros., was a music that I came of age with, and I just want to thank – as I did thank Hubert Laws – thank you for giving my life such a blessed soundtrack. Benson: He’s a great musician. I really enjoyed – I knew I moved up in class when I started working with him. Brown: If we could start by you stating your full name, your birth name, your date of birth, and your place of birth.
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This site is full of FREE ebooks - Check them out at our Home page - Project Gutenberg Australia Title: HOW TO BE A HERMIT or, A BATCHELOR KEEPS HOUSE Author: WILL CUPPY * A Project Gutenberg of Australia eBook * eBook No.: 0607881.txt Language: English Date first posted: October 2006 Date most recently updated: October 2006 This eBook was produced by: Malcolm Farmer Project Gutenberg of Australia eBooks are created from printed editions which are in the public domain in Australia, unless a copyright notice is included. We do NOT keep any eBooks in compliance with a particular paper edition. Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this file. This eBook is made available at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg of Australia License which may be viewed online at http://gutenberg.net.au/licence.html To contact Project Gutenberg of Australia go to http://gutenberg.net.au -------------------------------------------------------------------------- Title: HOW TO BE A HERMIT or, A BATCHELOR KEEPS HOUSE Author: WILL CUPPY TO Isabel Paterson THAN WHOM THERE IS NO ---- WELL, THAN WHOM THERE JUST ISN'T, THAT'S ALL. ACKNOWLEDGMENTS The author wishes to thank THE NEW YORK HERALD TRIBUNE, MC CALL'S MAGAZINE and MORROW'S ALMANACK for permission to reprint the articles in this book. They are nor responsible for the second thoughts--some of them highly inflammable--strewn recklessly through the original pieces, nor for the several added starters.
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For Additional Information Contact the Archives Center at 202.633.3270 Or [email protected]
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George Benson Blues!
TERENCE WRIGHT GUITAR Jazz Guitarist - Music Educator - Composer http://terencewrightguitar.com In the Style of: George Benson Blues! In this lesson we will look at 5 licks in the style of George Benson. To really get into the essence of George Benson's playing style, listen to as much of his playing as possible. A wonderful example of his jazz blues style playing is a famous recording from his 1968 album Giblet Gravy entitled Billies Bounce (a tune originally by Charlie Parker). Be sure to check out that recording and the rest of the album! The licks in this lesson are based off harmonies commonly found in an F blues. A few of licks below have multiple sets of harmony associated with them to illustrate how flexible these licks can be in a general jazz context. Practice suggestions 1) Practice slowly and deliberately 2) Be able to sing the lick you are working on 3) Apply the lick to all areas of the guitar 4)Play in all keys, and experiment with playing licks in different harmonic contexts George Benson Blues Lick #1 1 / 7 TERENCE WRIGHT GUITAR Jazz Guitarist - Music Educator - Composer http://terencewrightguitar.com This is a great lick featuring a chromatic approach from G# to A (the chord 3rd of F7), continuing to the chord 7th (Eb) and finally descending to the chord 5th (C). The most interesting part of this lick is the rhythmic phrasing. The lick begins on the off-beat of beat 2 and ends with 3 syncopated notes in the second bar. Knowing a number of syncopated lines and licks is key to developing great jazz solos! George Benson Blues Lick #2 2 / 7 TERENCE WRIGHT GUITAR Jazz Guitarist - Music Educator - Composer http://terencewrightguitar.com Just as in lick #1 this lick also begins on the off-beat.
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