Lee Morgan Delightfulee Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Lee Morgan Delightfulee Mp3, Flac, Wma Lee Morgan Delightfulee mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Delightfulee Country: US Released: 1967 Style: Hard Bop MP3 version RAR size: 1841 mb FLAC version RAR size: 1950 mb WMA version RAR size: 1780 mb Rating: 4.9 Votes: 195 Other Formats: MP1 MOD AHX ASF AC3 WMA VOC Tracklist Hide Credits 1 Ca-Lee-So 5:33 2 Zambia 6:31 Yesterday 3 5:47 Written-By – Lennon-McCartney Sunrise, Sunset 4 6:16 Written-By – Bock*, Harnick* 5 Nite Flite 7:36 6 The Delightful Deggie 6:34 Companies, etc. Manufactured By – Toshiba EMI Ltd Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Alto Saxophone, Flute – Phil Woods (tracks: 3, 4) Arranged By, Conductor – Oliver Nelson (tracks: 3, 4) Baritone Saxophone, Flute, Bass Clarinet – Danny Bank (tracks: 3, 4) Bass – Bob Cranshaw Design [Cover] – Reid Miles Drums – Philly Joe Jones* (tracks: 3, 4), Billy Higgins (tracks: 1, 2, 5, 6) French Horn – Jimmy Buffington* (tracks: 3, 4) Liner Notes [Original] – Leonard Feather Liner Notes [Reissue] – 原田和典* Liner Notes [Translated by] – 小川隆夫* Photography By [Cover Photo] – Francis Wolff Piano – McCoy Tyner Producer – Alfred Lion Recorded By – Rudy Van Gelder Tenor Saxophone – Joe Henderson (tracks: 1, 2, 5, 6), Wayne Shorter (tracks: 3, 4) Trombone – Tom McIntosh (tracks: 3, 4) Trumpet – Ernie Royal (tracks: 3, 4), Lee Morgan Tuba – Don Butterfield (tracks: 3, 4) Written-By – Lee Morgan (tracks: 1, 2, 5, 6) Notes Recorded at the Van Gelder Studio, New Jersey on April 8 & May 27, 1966 HSE2088 (20bit 88.2kHz Mastering). Barcode and Other Identifiers Barcode: 4988006729810 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Delightfulee (LP, Album, BLP 4243 Lee Morgan Blue Note BLP 4243 US 1967 Mono) Delightfulee (LP, Album, BNJ 71060 Lee Morgan Blue Note BNJ 71060 Japan 1985 RE) Delightfulee (CD, Album, TOCJ-9168 Lee Morgan Blue Note TOCJ-9168 Japan 1999 Ltd, RE, RM, Pap) Delightfulee Morgan (Cass, 4BN 84243 Lee Morgan Blue Note 4BN 84243 US 1985 RE, RM, XDR) Delightfulee (CD, Album, CDP 7 84243 2 Lee Morgan Blue Note CDP 7 84243 2 US 1987 RE) Related Music albums to Delightfulee by Lee Morgan Chico Hamilton - Passin' Thru / Man Of Two Worlds Bill Watrous, Pete Christlieb, The Gary Urwin Jazz Orchestra - Kindred Spirits Jimmy Smith - Got My Mojo Workin' Charlie Rouse - Bossa Nova Bacchanal Jimmy Smith - Got My Mojo Workin' • Hoochie Cooche Man Jimmy Smith - The Best Of Jimmy Smith Freddie Hubbard - Blue Spirits Jackie McLean - Four Classic Albums Jimmy Smith - Bashin' - The Unpredictable Jimmy Smith + Hobo Flats Stanley Turrentine - Joyride.
Recommended publications
  • Academic Catalog 2000-2001
    TEACHERSCOLLEGE COLUMBIA UNIVERSITY 2000–2001 Contents 1 Teachers College. Defining the Work of Educators 4 An Introduction to Teachers College 36 Academic Calendar 39 Research and Service Activities 51 The Milbank Memorial Library 53 Computing and Information Services 55 Instruction and Research Support Services 56 Teacher Education Programs and Internships 59 Research Fellowships 59 Student Life and Student Services 62 Faculty 82 Special Term Faculty 92 Trustees and Officers 94 Programs of Study 275 Degree Requirements 278 Registration, Expenses and General Regulation plus Touchtone Services 284 Residence Halls Information 287 Admissions Application Information 290 Student Aid Information 293 Application for Admission 295 Letter of Reference 297 Residence Hall Application 299 Student Aid Application 301 Index Correspondence Directory Notice of Nondiscriminatory Policy How to Get to Teachers College Map TEACHERSCOLLEGE D EFINING THE W ORK OF E DUCATORS Soon after being named president of Teachers College, I received a letter from a well-known educator suggesting the College change its name. The author reasoned that Teachers College is the largest and most comprehensive graduate and professional school of education in the United States. Teachers College focuses on education in the broadest sense of the word—in and out of the classroom and across a lifespan. A third of our students are in teacher preparation programs. Arthur E. Levine, President, Teachers College, The rest are planning on careers in administra- Columbia University tion, policy, research, and teaching in fields rang- ing across education, health, and psychology. The proposal certainly had merit, but it was at the same time impossible. The most valuable possession we have at Teachers College is our name.
    [Show full text]
  • Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter
    Jimmy Raney Thesis: Blurring the Barlines By: Zachary Streeter A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey In partial fulfillment of the requirements for the degree of Master of Jazz History and Research Graduate Program in Arts written under the direction of Dr. Lewis Porter and Dr. Henry Martin And approved by Newark, New Jersey May 2016 ©2016 Zachary Streeter ALL RIGHT RESERVED ABSTRACT Jimmy Raney Thesis: Blurring the Barlines By: Zach Streeter Thesis Director: Dr. Lewis Porter Despite the institutionalization of jazz music, and the large output of academic activity surrounding the music’s history, one is hard pressed to discover any information on the late jazz guitarist Jimmy Raney or the legacy Jimmy Raney left on the instrument. Guitar, often times, in the history of jazz has been regulated to the role of the rhythm section, if the guitar is involved at all. While the scope of the guitar throughout the history of jazz is not the subject matter of this thesis, the aim is to present, or bring to light Jimmy Raney, a jazz guitarist who I believe, while not the first, may have been among the first to pioneer and challenge these conventions. I have researched Jimmy Raney’s background, and interviewed two people who knew Jimmy Raney: his son, Jon Raney, and record producer Don Schlitten. These two individuals provide a beneficial contrast as one knew Jimmy Raney quite personally, and the other knew Jimmy Raney from a business perspective, creating a greater frame of reference when attempting to piece together Jimmy Raney.
    [Show full text]
  • Vut 20140303 – Big Bands
    JAMU 20140305 – BIG BANDS (2) 10. Chicago Serenade (Eddie Harris) 3:55 Lalo Schifrin Orchestra: Ernie Royal, Bernie Glow, Jimmy Maxwell, Marky Markowitz, Snooky Young, Thad Jones-tp; Billy Byers, Jimmy Cleveland, Urbie Green-tb; Tony Studd-btb; Ray Alonge, Jim Buffington, Earl Chapin, Bill Correa-h; Don Butterfield-tu; Jimmy Smith-org; Kenny Burrell-g; George Duvivier-b; Grady Tate-dr; Phil Kraus-perc; Lalo Schifrin-arr,cond. Englewood Cliffs, NJ, April 27/29, 1964. Verve V6-8587. 11. A Genuine Tong Funeral – The Opening (Carla Bley) 2:14 Gary Burton Quartet with Orchestra: Gary Burton-vib; Larry Coryell-g; Steve Swallow-b; Bobby Moses-dr; Mike Mantler-tp; Jimmy Knepper-tb,btb; Howard Johnson-tu,bs; Leandro “Gato” Barbieri-ts; Steve Lacy-ss; Carla Bley-p,org,cond. New York, July 1967. RCA Victor LSP 3901. 12. Escalator Over the Hill (Carla Bley) 4:57 Michael Mantler-tp; Sam Burtis, Jimmy Knepper, Roswell Rudd-tb; Jack Jeffers-btb; Bob Carlisle, Sharon Freeman-h; John Buckingham-tu; Jimmy Lyons-as; Gato Barbieri-ts; Chris Woods-bs; Perry Robinson-cl; Nancy Newton-vla; Charlie Haden-b; Paul Motian-dr; Tod Papageorge, Bob Stewart, Rosalind Hupp, Karen Mantler, Jack Jeffers, Howard Johnson, Timothy Marquand, Jane Blackstone, Sheila Jordan, Phyllis Schneider, Pat Stewart-voc; Bill Leonard, Don Preston, Viva, Carla Bley- narrators. November 1968-June 1971, various places. JCOA 839310-2. 13. Adventures in Time – 3x3x2x2x2=72 (Johnny Richards) 4:29 Stan Kenton Orchestra: Dalton Smith, Bob Behrendt, Marvin Stamm, Keith Lamotte, Gary Slavo- tp; Bob Fitzpatrick, Bud Parker, Tom Ringo-tb; Jim Amlotte-btb; Ray Starlihg, Dwight Carver, Lou Gasca, Joe Burnett-mell; Dave Wheeler-tu,btb; Gabe Baltazar-as, Don Menza, Ray Florian-ts; Allan Beutler-bs; Joel Kaye-bass,bs; Stan Kenton-p; Bucky Calabrese-b; Dee Barton-dr; Steve Dweck- tympani,perc.
    [Show full text]
  • The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
    04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • James Moody James Moody Mp3, Flac, Wma
    James Moody James Moody mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: James Moody Country: US Released: 1959 Style: Bop MP3 version RAR size: 1841 mb FLAC version RAR size: 1635 mb WMA version RAR size: 1170 mb Rating: 4.5 Votes: 198 Other Formats: MP1 WMA MIDI MMF AC3 XM AU Tracklist Hide Credits Darben The Redd Foxx A1 3:45 Written-By – James Moody Little Girl Blue A2 3:07 Written-By – Rodgers & Hart Out Of Nowhere A3 6:35 Arranged By – Tom McIntoshWritten-By – Heyman*, Green* Daahoud A4 6:00 Written-By – Clifford Brown Yesterdays B1 4:00 Written-By – Kern*, Harbach* Cookie B2 2:28 Written-By – Gene Kee With Malice Toward None B3 3:17 Arranged By – McIntosh*Written-By – Frank McIntosh* R.B.Q. B4 8:06 Written-By – Gene Kee Companies, etc. Record Company – Argo Record Corp. Manufactured By – Chess Producing Corp. Published By – Arc Music Published By – T. B. Harms Published By – Famous Music Published By – Brent Music Lacquer Cut At – RCA Studios, Chicago Pressed By – RCA Records Pressing Plant, Indianapolis Credits Baritone Saxophone – Musa (Moose) Kalliem* Bass – John Lathen Cover – Don Bronstein Flute, Tenor Saxophone, Alto Saxophone – James Moody Liner Notes – Jack Tracy Piano – Gene Kee Trombone – Tom McIntosh Trumpet – Johnny Coles Notes Recorded in August 1959 Originally released on Argo Records Probably recorded and mastered at Ter Mar Studios. Incorrect credit written by B3 as Frank McIntosh Barcode and Other Identifiers Matrix / Runout (Side A Label): K8OY-9624 Matrix / Runout (Side B Label): K8OY-9625 Matrix /
    [Show full text]
  • Nds Jazzgeschiedenis 568 = Zondag 29.12.91 = R 1 = +20.30
    NDS JAZZGESCHIEDENIS 568 = ZONDAG 29.12.91 = R 1 = +20.30-21.00 +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ band Pingel - 0:07 CldR, NOS Jazzgeschiedenis 568, tijdvak 1953-1958, hoofdstuk 12, Billie Holiday, deel 6 en laatst. Het was op het Newport Jazz Festival al heel duidelijk, u hoorde dat vorige keer, dat de zangeres haar drug-en vooral drankgebruik steeds slechter onder controle had. Het werd snel een vicieuze cirkel: door haar moeilijkheden kreeg ze steeds minder engagementen, wanneer ze moest optreden was ze onzeker, dus weer gin etc. En zo door. Schrijver/criticus Nat Hentoff produceerde voor de Timex TU Show in studio 58 van CBS in NYC 'The sound of Jazz' die in deze tijd toen er nog geen video bestond, op 16 mm film met aparte geluidsband werd opgenomen. Q.a. de Count Basie band in speciale bezetting en Thelonious Honk met een trio traden op, Hentoff had het briljante idee om Billie Holiday te laten zingen met een ook weer speciale formatie. Roy Eldridge speelde solo-trom- pet, naast hem Doe Cheatham. Dp trombone Uic Dickenson, dal liJaldron natuurlijk piano, verder Danny Barker-rhythmguitar, Milt Hinton-bas,Osie Johnson-drums. En er waren vier saxofonis- ten. Gerry flulligan op bariton en -dat was Hentoff's gouden greep- Ben Webster, Lester Young en Coleman Hawkins-tenorsaxo- foon. Solistisch in die volgorde. Billie Holiday's "Fine and mellow", voorafgegaan door de MC die geen hout van jazz wist, en de ingemonteerde introductie door Lady Day. plaat 1 Billie Holiday: Fine and mellow (Louis HcKay) T7Ï - 9:07 - Sagapan 6905 "Fine and mellow" uit de Timex TU Show van 8 december 1957 in NYC, uit de productie van Nat Hentoff 'The sound of Jazz'.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    Graduate Theses, Dissertations, and Problem Reports 2019 The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett Curtis Goods West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Music Performance Commons Recommended Citation Goods, Emmett Curtis, "The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964)" (2019). Graduate Theses, Dissertations, and Problem Reports. 7464. https://researchrepository.wvu.edu/etd/7464 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H.
    [Show full text]
  • Jazz at the Crossroads)
    MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
    [Show full text]