Jazzweek with Airplay Data Powered by Jazzweek.Com • June 14, 2010 Volume 6, Number 29 • $7.95
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Highly Recommended New Cds for 2018
Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Young and Terry Promane Octet Volume Two Modica Music Phil Parisot Creekside OA2 John Stowell And Ulf Bandgren Night Visitor Origin Eric Reed A Light In Darkness WJ3 Katharine McPhee I Fall In Love Too Easily BMG Takaaki Otomo New Kid In Town Troy Dr. Lonnie Smith All In My Mind Blue Note Clovis Nicolas Freedom Suite Ensuite Sunnyside Wayne Escoffery Vortex Sunnyside Steve Hobbs Tribute To Bobby Challenge Adam Shulman Full Tilt Cellar Live` Scott Hamilton Live At Pyat Hall Cellar Live Keith O’ Rourke Sketches From The Road Chronograph Jason Marsalis Melody Reimagined Book One Basin Street 1 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dan Block Block Party High Michael Waldrop Origin Suite Origin Roberto Margris Live In Miami J Mood Dan Pugach Nonet Plus One Unit UTR Jeff Hamilton Live From San Pedro Capri Phil Stewart Melodious Drum Cellar Live Ben Paterson That Old Feeling Cellar Live Jemal Ramirez African Skies Joyful Beat Michael Dease Reaching Out Positone Ken Fowser Don’t Look Down Positone New Faces Straight Forward Positone Emmet Cohen With Ron Carter Masters Legacy Series Volume Two Cellar Live Bob Washut Journey To Knowhere N/C Mike Jones and Penn Jillette The Show Before The Show Capri 2 Ed Love's Highly Recommended New CDs for 2018 Artist Title Label Dave Tull Texting And Driving Toy Car Corcoran Holt The Mecca Holt House Music Bill Warfield For Lew Planet Arts Wynton Marsalis United We Swing Blue Engine Scott Reeves Without A Trace Origin -
Tenor Saxophone Mouthpiece When
MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes 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] Advertising Sales Associate 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, 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, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, -
Musical Imaginary, Identity and Representation: the Case of Gentleman the German Reggae Luminary
Ali 1 Musical Imaginary, Identity and Representation: The Case of Gentleman the German Reggae Luminary A Senior Honors Thesis Presented in partial fulfillment of the requirements for graduation with distinction in Comparative Studies in the undergraduate colleges of The Ohio State University By Raghe Ali April 2013 The Ohio State University Project Advisors Professor Barry Shank, Department of Comparative Studies Professor Theresa Delgadillo, Department of Comparative Studies Ali 2 In 2003 a German reggae artist named Gentleman was scheduled to perform at the Jamworld Entertainment Center in the south eastern parish of St Catherine, Jamaica. The performance was held at the Sting Festival an annual reggae event that dates back some twenty years. Considered the world’s largest one day reggae festival, the event annually boasts an electric atmosphere full of star studded lineups and throngs of hardcore fans. The concert is also notorious for the aggressive DJ clashes1 and violent incidents that occur. The event was Gentleman’s debut performance before a Jamaican audience. Considered a relatively new artist, Gentleman was not the headlining act and was slotted to perform after a number of familiar artists who had already “hyped” the audience with popular dancehall2 reggae hits. When his turn came he performed a classical roots 3reggae song “Dem Gone” from his 2002 Journey to Jah album. Unhappy with his performance the crowd booed and jeered at him. He did not respond to the heckling and continued performing despite the audience vocal objections. Empty beer bottles and trash were thrown onstage. Finally, unable to withstand the wrath and hostility of the audience he left the stage. -
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. -
University of Maryland Commencement May 22, 2020
University of Maryland Commencemenmay 22, 2020 Table of Contents CONGRATULATIONS BACHELOR’S DEGREES From the President 1 Agriculture and Natural Resources, From the Alumni Association President 2 College of 24 Architecture, Planning and SPEAKER BIOGRAPHIES Preservation, School of 25 Graduating Student Speaker 4 Arts and Humanities, College of 25 University Medalists 5 Behavioral and Social Sciences, Honorary Degree Recipients 7 College of 29 Commencement Speaker 9 Business, Robert H. Smith School of 35 Computer, Mathematical, and DOCTORAL DEGREES 10 Natural Sciences, College of 42 Education, College of 48 MASTER’S DEGREES 15 Engineering, A. James Clark School of 49 Graduate Certificates 22 Information Studies, College of 52 Journalism, Philip Merrill College of 53 Public Health, School of 54 Public Policy, School of 56 THE “DO GOOD” CAMPUS Undergraduate Studies 56 Certificate Programs 56 The University of Maryland commits to becoming HONORS COLLEGE, CITATION AND a global leader in advancing social innovation, NOTATION PROGRAMS, AND ACADEMIC AND SPECIAL AWARDS philanthropy and nonprofit leadership with its Do Honors College 57 Good Campus. CIVICUS 59 College Park Scholars 59 Beyond the Classroom 62 Our Do Good Campus effort amplifies the power of Federal Fellows 62 Terps as agents of social innovation and supports First-Year Innovation and Research Experience 62 the university’s mission of service. We’re working to Global Communities 63 ensure all University of Maryland students graduate Global Fellows 63 equipped and motivated to do good in their careers, Hinman CEOs 63 Immigration and Migration Studies 63 their communities and the world. Jiménez-Porter Writers’ House 63 Language House 63 Ronald E. -
Arts Maryland
ARTS MARYLAND To view online, go to: http://www.emarketingmd.org/Tourism/MSAC/Newsletter/January_10/Index.html PROGRAMS EVENTS GRANTS ARTS MARYLAND Latino Arts Roundtable JANUARY 2010 MSAC convenes session for Latino arts community Support the arts at Maryland Arts Day New policy allows TEP funding for public art Nine Md. organizations receive NEA awards MSAC convenes session for growing Latino arts community Local performers garner Participants included (l to r): Carolyn Comacho, Montgomery County Grammy nominations Public Schools; Olga Diaz, St. Michael and St. Patrick’s Church; Ted Resources available David, La Layenda; Susanna Nemes, Maryland State Arts Councilor; for artists, arts groups and Rosalina Delgado, Hispanic Business Federation. Polisar fans bring Having worked with Maryland’s Latino community in recent months, the Maryland new twists to old songs State Arts Council (MSAC) hosted its first Latino Arts Roundtable, Jan. 12, to discuss grant opportunities and how to best serve that community. The event was held at the Arts Council’s office, 175 W. Ostend St. in South Baltimore. “Historically, the Arts Council has been a leader among state arts agencies in gaining a broad and diverse constituency,” said Gov. Martin O’Malley. “We intend to continue that leadership by convening Latino leaders and artists in order to extend our grant programs into Maryland’s growing Latino community.” One of the goals of the Arts Council’s strategic plan, Imagine Maryland, is to recognize the state’s cultural diversity and forge connections with diverse communities. http://www.emarketingmd.org/Tourism/MSAC/Newsletter/January_10/Index.html (1 of 5)1/26/2012 2:10:24 PM ARTS MARYLAND Support the arts at Maryland Arts Day Hundreds of arts advocates are expected to meet with state legislators in Annapolis, Feb. -
The Jazz Record
oCtober 2019—ISSUe 210 YO Ur Free GUide TO tHe NYC JaZZ sCene nyCJaZZreCord.Com BLAKEYART INDESTRUCTIBLE LEGACY david andrew akira DR. billy torn lamb sakata taylor on tHe Cover ART BLAKEY A INDESTRUCTIBLE LEGACY L A N N by russ musto A H I G I A N The final set of this year’s Charlie Parker Jazz Festival and rhythmic vitality of bebop, took on a gospel-tinged and former band pianist Walter Davis, Jr. With the was by Carl Allen’s Art Blakey Centennial Project, playing melodicism buoyed by polyrhythmic drumming, giving replacement of Hardman by Russian trumpeter Valery songs from the Jazz Messengers songbook. Allen recalls, the music a more accessible sound that was dubbed Ponomarev and the addition of alto saxophonist Bobby “It was an honor to present the project at the festival. For hardbop, a name that would be used to describe the Watson to the band, Blakey once again had a stable me it was very fitting because Charlie Parker changed the Jazz Messengers style throughout its long existence. unit, replenishing his spirit, as can be heard on the direction of jazz as we know it and Art Blakey changed By 1955, following a slew of trio recordings as a album Gypsy Folk Tales. The drummer was soon touring my conceptual approach to playing music and leading a sideman with the day’s most inventive players, Blakey regularly again, feeling his oats, as reflected in the titles band. They were both trailblazers…Art represented in had taken over leadership of the band with Dorham, of his next records, In My Prime and Album of the Year. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Ebook Download the Mccoy Tyner Collection
THE MCCOY TYNER COLLECTION PDF, EPUB, EBOOK McCoy Tyner | 120 pages | 01 Nov 1992 | Hal Leonard Corporation | 9780793507474 | English | Milwaukee, United States The Mccoy Tyner Collection PDF Book Similar Artists See All. There's magic in the air, or at the very least a common ground of shared values that makes this combination of two great musicians turn everything golden. That's not to say their progressive ideas are completely harnessed, but this recording is something lovers of dinner music or late-night romantic trysts will equally appreciate. McCoy Tyner. Extensions - McCoy Tyner. Tyner died on March 6, at his home in New Jersey. They sound empathetic, as if they've played many times before, yet there are enough sparks to signal that they're still unsure of what the other will play. Very highly recommended. Albums Live Albums Compilations. Cart 0. If I Were a Bell. On this excellent set, McCoy Tyner had the opportunity for the first time to head a larger group. McCoy later said, Bud and Richie Powell moved into my neighborhood. He also befriended saxophonist John Coltrane, then a member of trumpeter Miles Davis' band. A flow of adventurous, eclectic albums followed throughout the decade, many featuring his quartet with saxophonist Azar Lawrence, including 's Song for My Lady, 's Enlightenment, and 's Atlantis. McCoy Tyner Trio. See the album. Throughout his career, Tyner continued to push himself, arranging for his big band and releasing Grammy-winning albums with 's Blues for Coltrane: A Tribute to John Coltrane and 's The Turning Point. However, after six months with the Jazztet, he left to join Coltrane's soon-to-be classic quartet with bassist Jimmy Garrison and drummer Elvin Jones. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
Jazzweek with Airplay Data Powered by Jazzweek.Com • June 8, 2009 Volume 5, Number 28 • $7.95
JazzWeek with airplay data powered by jazzweek.com • June 8, 2009 Volume 5, Number 28 • $7.95 Jazz Album No. 1: One For All, Return Of The Smooth Album No. 1: Jackiem Joyner, Lil’ Lineup (Sharp Nine) Man Soul (Artistry/Mack Avenue) World Music No. 1: Zap Mama ReCreation Smooth Single No. 1: Jackiem Joyner, “I’m (Heads Up/Concord) Waiting For You” (Artistry/Mack Avenue) Jazz Album Chart . 3 Jazz Radio Currents . 8 Smooth Jazz Album Chart . 4 Jazz Radio Panel . 11 Smooth Singles Chart . 5 Key Non-Monitored Jazz Stations . 12 World Music Album Chart. 6 Smooth Jazz Current Tracks. 13 Jazz Add Dates. 7 Smooth Jazz Station Panel. 14 Jazz Birthdays June 8 June 16 June 27 Bill Watrous (1939) Joe Thomas (1933) Elmo Hope (1923) Julie Tippett (1947) Albert Dailey (1938) June 28 June 9 Tom Harrell (1946) Jimmy Mundy (1907) Javon Jackson (1965) Cole Porter (1891) June 29 Kenny Barron (1943) June 17 Julian Priester (1935) Mick Goodrick (1945) Tony Scott (1921) June 30 Joe Thomas (1933) June 10 Lena Horne (1917) Chuck Rainey (1940) Dicky Wells (1907) Andrew Hill (1937) Gary Thomas (1961) June 20 Stanley Clarke (1951) Charnett Moffett (1967) Eric Dolphy (1928) July 1 June 11 June 21 Earle Warren (1914) Shelly Manne (1920) Jamil Nasser (1932) Leon “Ndugu” Chancler (1952) Hazel Scott (1920) June 23 July 2 Bernard Purdie (1939) Milt Hinton (1910) Herbie Harper (1920) Jamaaladeen Tacuma (1956) Helen Humes (1913) Richard Wyands (1928) June 12 George Russell (1923) Ahmad Jamal (1930) Marcus Belgrave (1936) Sahib Shihab (1925) July 3 Chick Corea (1941) Donald -
Reggae Bass Pdf, Epub, Ebook
REGGAE BASS PDF, EPUB, EBOOK Ed Friedland | 32 pages | 01 Nov 1998 | Hal Leonard Corporation | 9780793579945 | English | Milwaukee, United States Reggae Bass PDF Book Reggae Rock. Here's a cool trick I learned to get super sub dubby bass tone: use an envelope filter, but turn the sensitivity all the way down so that it never opens. Print this page Do you know your Reggae Bass? No effects. May 26, Chapel Hill, NC. Fender Mustang Amp Review. Walking lines and swung bass lines in reggae tend to stay behind the beat and generally play very relaxed. Reggae Guitar. Reggae Love Songs. All rights reserved. You can accomplish everything with a few basic EQ and technique changes. Mostly no effects, it is really about the groove, not the tone. Do you use effects in reggae? It was also during this time that bass players were given a little bit more musical freedom and bass lines during this period began to become more intricate — relatively speaking bearing the standards set by ska and rocksteady in mind from before. Extra sustain and super round, phat but clean bass. Reggae Bass Scales. Use the previous reggae grooves as a blueprint for creating your own and listen to a lot of reggae bands for inspiration. Reggae Instrumental. The earliest form of music to come from Jamaica was a mid-tempo style of music called ska. While the One Drop Rhythm is fundamentally a single strike of the kick and the snare at the same time, there is some ambiguity on whether or not the drop is on beat three or just on beats two and four.