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The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
Thad Jones Discography Copy
Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr. -
Windward Passenger
MAY 2018—ISSUE 193 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE BURRELL WINDWARD PASSENGER PHEEROAN NICKI DOM HASAAN akLAFF PARROTT SALVADOR IBN ALI Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2018—ISSUE 193 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : PHEEROAN aklaff 6 by anders griffen [email protected] Andrey Henkin: [email protected] Artist Feature : nicki parrott 7 by jim motavalli General Inquiries: [email protected] ON The Cover : dave burrell 8 by john sharpe Advertising: [email protected] Encore : dom salvador by laurel gross Calendar: 10 [email protected] VOXNews: Lest We Forget : HASAAN IBN ALI 10 by eric wendell [email protected] LAbel Spotlight : space time by ken dryden US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIVAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD ReviewS 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Miscellany 43 Suzanne Lorge, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Event Calendar 44 Andrew Vélez, Scott Yanow Contributing Writers Kevin Canfield, Marco Cangiano, Pierre Crépon George Grella, Laurel Gross, Jim Motavalli, Greg Packham, Eric Wendell Contributing Photographers In jazz parlance, the “rhythm section” is shorthand for piano, bass and drums. -
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 -
Afrofuturism: the World of Black Sci-Fi and Fantasy Culture
AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISM Afrofuturism_half title and title.indd 1 5/22/13 3:53 PM Copyright © 2013 by Ytasha L. Womack All rights reserved First edition Published by Lawrence Hill Books, an imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-61374-796-4 Library of Congress Cataloging-in-Publication Data Womack, Ytasha. Afrofuturism : the world of black sci-fi and fantasy culture / Ytasha L. Womack. — First edition. pages cm Includes bibliographical references and index. ISBN 978-1-61374-796-4 (trade paper) 1. Science fiction—Social aspects. 2. African Americans—Race identity. 3. Science fiction films—Influence. 4. Futurologists. 5. African diaspora— Social conditions. I. Title. PN3433.5.W66 2013 809.3’8762093529—dc23 2013025755 Cover art and design: “Ioe Ostara” by John Jennings Cover layout: Jonathan Hahn Interior design: PerfecType, Nashville, TN Interior art: John Jennings and James Marshall (p. 187) Printed in the United States of America 5 4 3 2 1 I dedicate this book to Dr. Johnnie Colemon, the first Afrofuturist to inspire my journey. I dedicate this book to the legions of thinkers and futurists who envision a loving world. CONTENTS Acknowledgments .................................................................. ix Introduction ............................................................................ 1 1 Evolution of a Space Cadet ................................................ 3 2 A Human Fairy Tale Named Black .................................. -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date. -
Wavelength (April 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 4-1981 Wavelength (April 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (April 1981) 6 https://scholarworks.uno.edu/wavelength/6 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. APRIL 1 981 VOLUME 1 NUMBE'J8. OLE MAN THE RIVER'S LAKE THEATRE APRIL New Orleans Mandeville, La. 6 7 8 9 10 11 T,HE THE THIRD PALACE SUCK'S DIMENSION SOUTH PAW SALOON ROCK N' ROLL Baton Rouge, La. Shreveport. La. New Orleans Lalaye"e, La. 13 14 15 16 17 18 THE OLE MAN SPECTRUM RIVER'S ThibOdaux, La. New Orleans 20 21 22 23 24 25 THE LAST CLUB THIRD HAMMOND PERFORMANCE SAINT DIMENSION SOCIAL CLUB OLE MAN CRt STOPHER'S Baton Rouge, La. Hammond, La. RIVER'S New Orleans New Orleans 27 29 30 1 2 WEST COAST TOUR BEGINS Barry Mendelson presents Features Whalls Success? __________________6 In Concert Jimmy Cliff ____________________., Kid Thomas 12 Deacon John 15 ~ Disc Wars 18 Fri. April 3 Jazz Fest Schedule ---------------~3 6 Pe~er, Paul Departments April "Mary 4 ....-~- ~ 2 Rock 5 Rhylhm & Blues ___________________ 7 Rare Records 8 ~~ 9 ~k~ 1 Las/ Page _ 8 Cover illustration by Rick Spain ......,, Polrick Berry. Edllor, Connie Atkinson. -
Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
Acoustic Sounds Catalog Update
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