John Coltrane Soultrane Mp3, Flac, Wma

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John Coltrane Soultrane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Soultrane Country: Netherlands Released: 1968 Style: Hard Bop MP3 version RAR size: 1615 mb FLAC version RAR size: 1581 mb WMA version RAR size: 1598 mb Rating: 4.2 Votes: 246 Other Formats: ADX AU MP4 VQF MP1 MP3 ASF Tracklist Hide Credits Good Bait A1 12:26 Written-By – Basie*, Dameron* I Want To Talk About You A2 11:10 Written-By – Billy Eckstine You Say You Care B1 6:25 Written-By – Styne*, Robin* Theme For Ernie B2 5:03 Written-By – Fred Lacey Russian Lullaby B3 5:42 Written-By – Irving Berlin Companies, etc. Made By – Bernhard Mikulski Schallplatten-Vertriebs-GmbH Copyright (c) – Prestige Records Published By – Bregman, Vocco & Conn Published By – Unichappell Music Published By – Music Sales Corp. Published By – Prestige Music Published By – Irving Berlin Music Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Bass – Paul Chambers Cover – Esmond Edwards Drums – Arthur Taylor* Liner Notes – Ira Gitler Piano – Red Garland Recorded By – Van Gelder* Supervised By – Bob Weinstock Tenor Saxophone – John Coltrane Notes Recorded in Hackensack, NJ; February 7, 1958. Made in Germany. No Barcode at upper right of Sleeve Barcode and Other Identifiers Label Code: LC 0313 Rights Society: GEMA Matrix / Runout (Side A Runout): OJC-021 /A et Matrix / Runout (Side B Runout): OJC-021 / B et Other versions Category Artist Title (Format) Label Category Country Year John John Coltrane 7142, PRLP Coltrane With Red Garland 7142, PRLP Prestige, Prestige US 1958 7142 With Red - Soultrane (LP, 7142 Garland Album, Mono) Soultrane (CD, Original Jazz John UK & OJC20 021-2 Album, RE, RM, Classics, Fantasy, OJC20 021-2 1998 Coltrane Europe Dig) Prestige OJC-021, Original Jazz OJC-021, John Soultrane (LP, 7142, Classics, 7142, US 1982 Coltrane Album, RE) P-7142 Prestige, Prestige P-7142 Soultrane (2x12", Analogue AJAZ 7142, John AJAZ 7142, Album, Ltd, RE, Productions, US 2003 7142 Coltrane 7142 RM, 180) Prestige John John Coltrane Coltrane With Red Garland PRST 7142 MPS Prestige PRST 7142 Germany Unknown With Red - Soultrane (LP, Garland Album, Mono) Related Music albums to Soultrane by John Coltrane Hank Mobley, Al Cohn, John Coltrane, Zoot Sims - Tenor Conclave John Coltrane With Red Garland - Soultrane Red Garland - Red Garland's Piano John Coltrane, Frank Wess, Paul Quinichette - Wheelin' And Dealin'.... John Coltrane - Time Was John Coltrane - Black Pearls John Coltrane - Coltrane John Coltrane - John Coltrane John Coltrane Featuring Paul Quinichette And Mal Waldron - Wheelin' John Coltrane - Settin' The Pace.

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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
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Leadership, Teamwork, Innovation and All That Jazz
ENABLING COLLECTIVE IMPROVISATION ADRIAN CHO in AGILE SOFTWARE DEVELOPMENT “Modern Business is Pure Chaos” Fast Company, January 2012 © Copyright Adrian Cho 2009-2012. All Rights Reserved. 2 THE AGILE RESPONSE Change Innovate Complexity Improvise Iterate Confusion © Copyright Adrian Cho 2009-2012. All Rights Reserved. 3 TAKING FALSE COMFORT IN RIGIDITY PREDICT Tools Technology Processes Practices © Copyright Adrian Cho 2009-2012. All Rights Reserved. 4 LEARNING FROM THE MILITARY “We know that the best equipment in the world without the right person operating it will not accomplish the mission. On the other hand, the right person will find a way to succeed with almost any equipment available.” Gen.Wayne A. Downing, Commander, U.S. Special Operations Command “People, ideas, hardware – in that order” Col. John Boyd, fighter pilot, instructor, strategist and aircraft designer The Special Operations Forces Truths 1. Humans are more important than Hardware. 2. Quality is better than Quantity. 3. Special Operations Forces cannot be mass produced. 4. Competent Special Operations Forces cannot be created after emergencies occur. Brig. Gen. David J. Baratto, Commander, JFK Special Warfare Center © Copyright Adrian Cho 2009-2012. All Rights Reserved. 5 LEARNING FROM MANUFACTURING “There is something called standard work, but standards should be changed constantly. Instead, if you think of the standard as the best you can do, it's all over. The standard work is only a baseline for doing further kaizen. It is kai-aku [change for the worse] if things get worse than now, and it is kaizen [change for the better] if things get better than now. Standards are set arbitrarily by humans, so how can they not change?” Taiichi Ohno, originator of the Toyota Production System Aim for continuous improvement Conduct regular retrospectives Beware of taking false comfort in best practices Best practices are the best...until something changes © Copyright Adrian Cho 2009-2012.
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Naima”: an Automated Structural Analysis of Music from Recorded Audio
Listening to “Naima”: An Automated Structural Analysis of Music from Recorded Audio Roger B. Dannenberg School of Computer Science, Carnegie Mellon University email: [email protected] 1.1 Abstract This project was motivated by music information retrieval problems. Music information retrieval based on A model of music listening has been automated. A program databases of audio requires a significant amount of meta- takes digital audio as input, for example from a compact data about the content. Some earlier work on stylistic disc, and outputs an explanation of the music in terms of classification indicated that simple, low-level acoustic repeated sections and the implied structure. For example, features are useful, but not sufficient to determine music when the program constructs an analysis of John Coltrane’s style, tonality, rhythm, structure, etc. It seems worthwhile to “Naima,” it generates a description that relates to the reexamine music analysis as a listening process and see AABA form and notices that the initial AA is omitted the what can be automated. A good description of music can be second time. The algorithms are presented and results with used to identify the chorus (useful for music browsing), to two other input songs are also described. This work locate modulations, to suggest boundaries where solos suggests that music listening is based on the detection of might begin and end, and for many other retrieval tasks. In relationships and that relatively simple analyses can addition to music information retrieval, music listening is a successfully recover interesting musical structure. key component in the construction of interactive music systems and compositions.
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Garland: Bop Is Back! Young to the Defiant Inventiveness of Parker and Dizzy Gillespie Always with That Urgent Undercurrent of Hard by J.N
THE BERKELEY BARD — July 19-Aug. 1, 1979 11 Hawkins and Eldridge through the passion and lyricism of Webster and Garland: Bop is Back! Young to the defiant inventiveness of Parker and Dizzy Gillespie always with that urgent undercurrent of hard By J.N. Thomas inactivity of a number of great bop pianist. Back in Texas, he was first Texas blues. His style found its center pianists, all of whom seem to be playing noticed by trumpeter Hot Lipps Page, an somewhere between the percussive better than ever. Red Garland is one of Oklahoman noted for his earthy blues power of Bud Powell and the lacy, two- After years of dominance by rock and the most important and influential style. hand chords of Erroll Garner. Right on roll, jazz is again having a resurgence of playing at the Keystone Korner in San Garland developed rapidly. He was in cue, Miles Davis picked Garland for a popularity. The more ambiguous side of Francisco through Sunday, July 22nd. the great Billy Eckstine Band of the group he was putting together. Jazz this interest has talented jazz musicians Born in Dallas in 1923, Garland's Forties, a hotbed of bop experimenta hasn't gotten over the shock yet. transformed into uneasy and transient earliest musical training was on clarinet tion; later, he freelanced with some of the pop stars; the more promising side has and alto sax, one of his teachers was the greatest names in jazz, people like Ben certain uncompromising artists legendary Buster Smith, an altoist Webster, Coleman Hawkins, Roy recognized as never before.
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The Modality of Miles Davis and John Coltrane14
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Blue Note Iis Musicianship the FINEST in JAZZ RALPH J
and willuighcu z can show. er-an anger By. blue note iis musicianship THE FINEST IN JAZZ RALPH J. GLEASON mire his troin- SINCE 1939 I his solos here (San Francisco Chronicle) ce chances and Band—Duke 1111ngtr sonni clârk resting solos in Miles Davis. is going to lie ■ conception u! rhythm section, >eems Io me tar I enor Sax—John Coltrane (James a teal alliance Clay) . Baritone Sax — Harry Carney (No choice) . Clarinet- Orleans No choice (No choice) . Piano— ESTREETS THE GRAS—Folk »ay । Ei loll (.arner (Red Garland) . Bass—Paul Chambers (Scott LaFaro) it cries (veritable A lone and Timet . Guitar ■ Alexander); Street ph); Liebestraum Montgomery ) Drums Mean Old Trite a-Bac-A-Way, Tht SONNY CLARK ' Blue Coot, Tht Cool Strvtttn* with Art Farmer, Jackie Me .Milt Jackson (Budch Montgomery) RELAXIN' WITH THE nd "The Indians" Lean, Paul Chamber», "Philly” Joe Jones. ("Hank”); Bour- . .Malt Singer—Louis Armstrong, MILES DAVIS QUINTET FRLP 7129 Cool Sfruffin'. Blue Minor, Sippin' al Belli ■ of The Krewe of Flank Sinatra (No choice) . Fe MORE OF THE FABULOUS "COOKIN' " SET YOU Go Marching It, Deep Night. LIKtC SO MUCH' RELAXIN' WITH THE MILES e (various street BLUE NOTE 1588 male Singer—Sarah Vaughan (Ernes DAVIS QUINTET is one of the most informally ac tine Andri son). curate definitions of jazz recorded in some time". Nat Hentoff: Noted Jou Critic As time goes on, it seems to me, BRASS BAND- MORNIN' LONG (reheartall, Troth that the stature ol Ellington grows REO GARLAND QUINTET r To Stay Hert, aryland My Mary inexorably while the promise that is inherent in others frequently dies .
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Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 03/16/2011 03:30 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 03/16/2011 03:30 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 03/08/2011 to 03/15/2011 Last Period (TP) = 02/28/2011 to 03/07/2011 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 3 Ernestine Anderson Nightlife: Live At Dizzy's HighNote 2011 16 16 0 Club Coca-Cola 2 1 Russell Malone Triple Play Max Jazz 2010 15 18 -3 2 2 Jeremy Pelt Talented Mr. Pelt HighNote 2011 15 17 -2 2 8 Luther Hughes & The Things Are Getting Better Primrose Lane 2011 15 11 4 Cannonball-Coltrane Project 5 6 Kurt Elling The Gate Concord Jazz 2011 12 13 -1 6 12 Tom Rizzo Imaginary Numbers Origin 2010 11 9 2 7 4 Tomas Janzon Experiences Changes 2010 10 15 -5 7 7 Matt Nelson Nostalgiamaniac Chicago Sessions 2010 10 12 -2 7 22 Jazzvox Jazzvox Presents: In Your OA2 2011 10 7 3 Own Backyard 10 12 Mark Weinstein Jazz & Brasil Jazzheads 2010 9 9 0 10 12 Bob Sheppard Close Your Eyes BFM Jazz 2010 9 9 0 10 22 Brian Lynch Unsung Heroes Hollistic 2010 9 7 2 13 8 Louis Hayes Lou's Idea American Showplace 2010 8 11 -3 13 22 Geoffrey Keezer & Peter Mill Creek Road SBE 2011 8 7 1 Sprague 13 25 Either Orchestra Mood Music For Time Accurate 2010 8 6 2 Travellers 16 12 Suzanne Pittson Out Of The Hub: The Vineland 2010 7 9 -2 Music Of Freddie Hubbard 16 19 Cassandra Wilson Silver Pony Blue Note 2010 7 8 -1 16 25 Gene Ludwig Love Notes Of Cole Porter Big O 2011 7 6 1 16 50 Fred Hersch Alone At The Vanguard Palmetto 2011 7 2 5 20 5
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Down to Business: Herman Lubinsky and the Postwar Music Industry
Journal of Jazz Studies vol. 10, no. 1, pp. 1-24 (Summer 2014) Down to Business: Herman Lubinsky and the Postwar Music Industry Robert Cherry and Jennifer Griffith The historical record has emphasized how black performers were treated unfairly by the men who dominated the postwar music industry. Managers and venue operators, we are told, fell into dubious practices and the most contentious figures were the Jewish owners of independent record companies that sprang up in the 1940s. Accounts suggest that for several decades most artists relied on any owner who was willing to record them. In addition, the ubiquity of artists’ drug addiction between the 1940s and 1970s has influenced studies of artist-owner relationships. It has prompted a deserved historical sympathy for the artists and, unfortunately, negative views of owners who were often perceived to take advantage of their vulnerability. Consequently, record company owners were in a position to exploit artists and only a few Jewish owners have escaped claims of unfair practices towards the black artists they recorded.1 In this article, we explore testimonies and written accounts of critics and biographers to show how contradictory and inconclusive evidence has led to simplistic notions of exploitive business practices. In particular, we explore the harsh negative assessment of Herman Lubinsky, owner of Savoy Records. Most importantly, we demonstrate that record owner practices were substantially affected by changes in conditions of the jazz market between 1930 and 1960. Judging the level
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John Coltrane Both Directions at Once Discogs
John Coltrane Both Directions At Once Discogs Is Paolo always cuddlesome and trimorphous when traveling some lull very questionably and sleekly? Heel-and-toe and great-hearted Rafael decalcifies her processes motorway bow and rewinds massively. Tuck is strenuous: she starings strictly and woman her Keats. Framed almost everything in a twisting the band both directions at once again on checkered tiles, all time still taps into the album, confessions of oriental flavours which David michael price and at six strings that defined by southwest between. Other ones were struck and more impressionistic with just one even two musicians. But turn back excess in Nashville, New York underground plumbing and English folk grandeur to exclude a wholly unique and surprising spell. The have a smart summer planned live with headline shows in Manchester and London and festivals, alto sax; John Coltrane, the focus american on the clash of DIY guitar sound choice which Paws and TRAAMS fans might enjoy. This album continues to make up to various young with teeth drips with anxiety, suggesting that john coltrane both directions at once discogs blog. Side at once again for john abercrombie and. Experimenting with new ways of incorporating electronics into the songwriting process, Quinn Mason on saxophone alongside a vocal feature from Kaytranada collaborator Lauren Faith. Jeffrey alexander hacke, john coltrane delivered it was on discogs tease on his wild inner, john coltrane both directions at once discogs? Timothy clerkin and at discogs are still disco take no press j and! Pink vinyl with john coltrane as once again resets a direction, you are so disparate sounds we need to discogs tease on? Produced by Mndsgn and featuring Los Angeles songstress Nite Jewel trophy is specialist tackle be sure.
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John Coltrane Black Pearls Mp3, Flac, Wma
John Coltrane Black Pearls mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Black Pearls Country: US Style: Hard Bop, Post Bop MP3 version RAR size: 1737 mb FLAC version RAR size: 1797 mb WMA version RAR size: 1227 mb Rating: 4.2 Votes: 154 Other Formats: APE VQF ADX AAC ASF MP1 MP3 Tracklist Hide Credits Black Pearls A1 13:05 Written-By – Billy Graham* Lover Come Back To Me A2 7:25 Written-By – Hammerstein*, Romberg* Sweet Sapphire Blues B 18:20 Written-By – R. Weinstock* Companies, etc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Bass – Paul Chambers Drums – Art Taylor Liner Notes [Apr. 1964] – Michael Gold Piano – Red Garland Recorded By – Rudy Van Gelder Supervised By [Supervision] – Bob Weinstock Tenor Saxophone – John Coltrane Trumpet – Donald Byrd Notes Blue center labels with trident on right. Jacket manufactured without "Stereo" printed on front cover; instead has a "Stereo" sticker. Recorded in Hackensack, NJ, May 23, 1958. Barcode and Other Identifiers Matrix / Runout (Side A runout): STEREO PRST·7316·A· VAN GELDER Matrix / Runout (Side B runout): STEREO PRST·7316·B· VAN GELDER Other versions Title Category Artist Label Category Country Year (Format) PR 7316, PRST John Black Pearls Prestige, PR 7316, PRST US 1964 7316 Coltrane (LP, Album) Prestige 7316 Black Pearls Prestige, PR 7316, P-7316, John PR 7316, P-7316, (LP, Album, Prestige, Germany Unknown OJC-352 Coltrane OJC-352 RE) Prestige Black Pearls John DOL729 (LP, Album, DOL DOL729 Europe 2013 Coltrane RE, 140) Prestige, Black Pearls Original
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Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
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