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Aretha Franklin's Gendered Re-Authoring of Otis Redding's
Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form. -
Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
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. -
Comin' Home Baby Tributo a Herbie Mann
Comin’ Home Baby Tributo a Herbie Mann Geoff Warren Quartet Geoff Warren – Flauti Raffaele Pallozzi – Tastiere Marco Di Marzio – Basso Bruno Marcozzi – Batteria e percussioni Herbie Mann – Flautista Jazz e Pioniere della World Music. Il mondo, secondo il flautista e compositore Herbie Mann, è un paradiso musicale utopico in cui il jazz è composto da musica afro-cubana, mediorientale, R & B e quasi ogni altra genere di musica. Herbert Jay Soloman, meglio conosciuto come Herbie Mann, fu tra i primi musicisti jazz a specializzarsi nel flauto e fu forse il più famoso flautista della musica jazz negli anni '60. Quando iniziò a suonare il flauto negli anni '40, non aveva modelli da cui imparare, nessun pioniere del flauto jazz da idolatrare. Così fu costretto a guardare altrove, sia dentro che fuori dal jazz, per sviluppare il suo approccio jazz al flauto. Tra le numerose influenze musicali, Mann è stato particolarmente attratto dai ritmi e dalle melodie del Sud America e dei Caraibi, ed è stato uno dei primi pionieri nella fusione tra Jazz e World-Music. Nel 1961 Mann fece un tour in Brasile e tornò negli Stati Uniti per registrare con musicisti brasiliani tra cui Baden Powell e Antonio Carlos Jobim. Questi album hanno contribuito a diffondere la bossa nova. Successivamente Mann è passato al soul jazz e negli anni '70 ha registrato album reggae, funk e disco. Ha descritto il suo approccio alla ricerca del groove così: "Tutto quello che devi fare è trovare le onde comode per galleggiarci sopra". Quindici anni dopo la prematura scomparsa di questo artista significativo, questo tributo spera di offrire qualcosa della varietà, vitalità e puro amore del jazz aperto al mondo, che ha caratterizzato il grande Herbie Mann. -
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT for the ARTS
2015 NEA Jazz Masters 2015 NATIONAL ENDOWMENT FOR THE ARTS 2015 Fellows Carla Bley George Coleman Charles Lloyd Joe Segal NEA Jazz Masters 2015 Contents Introduction ..............................................................................1 A Brief History of the Program ................................................2 Program Overview ...................................................................5 2015 NEA Jazz Masters............................................................7 Carla Bley .......................................................................................8 George Coleman............................................................................9 Charles Lloyd ...............................................................................10 Joe Segal ......................................................................................11 NEA Jazz Masters, 1982–2015..............................................12 NEA Jazz Masters Awards Ceremony ...................................14 Pianist Jason Moran and guitarist Bill Frisell perform 2014 NEA Jazz Master Keith Jarrett’s “Memories of Tomorrow” at the 2014 awards concert. Photo by Michael G. Stewart The NEA is committed to preserving the legacy of jazz not just for this ”generation, but for future generations as well. ” IV NEA Jazz Masters 2015 IT IS MY PLEASURE to introduce the 2015 class of NEA Jazz Masters. The NEA Jazz Masters awards—the nation’s highest recognition of jazz in America—are given to those who have reached the pinnacle of their art: musicians -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Brother Leo Bio Where Does Ola End and Brother Leo Begin? “It's A
Brother Leo Bio Where does Ola end and Brother Leo begin? “It's a question that's been rattling around in the constantly whirring mind of the Grammy nominated Swedish artist for a while, and like all good pop mysteries, may never be solved. “Brother Leo means freedom. The name comes from a reoccurring dream I had as a kid. In the dream I had a twin brother, he was a free spirit, brave, confident and always had the answers to everything. He had superpowers and his name was Leo”. A highly respected songwriter and producer in his own right, Ola Svensson has been reborn, ready to take on the world with an impressive array of songs and emotions, as Brother Leo. “The whole idea behind creating the alias was to provide an honest and creative place that forced me outside of my comfort zone. As Brother Leo I’m able to challenge and push myself as a artist and songwriter. In a way, I can be more me”. Fuelled by his winding musical journey so far, and spurred on to dig deeper into his creative expression, Ola, channelling Brother Leo, has crafted a suite of songs that are unafraid to alchemise his emotions and experiences into bold, unabashed pop anthems. These are songs for the masses, communicating universal emotions. Be they playful like the sleek ode to love, Naked, or be they heartbreaking like the redemptive hymn, Hallelujah, or the zeitgeist critical new single, Strangers on an Island; a gold-plated banger produced by British dance music legend Fatboy Slim. -
Industry Newsletter
On The Radio December 2, 2011 December 23, 2011 Brett Dennen, The Kruger Brothers, (Rebroadcast from March 25, 2011) Red Clay Ramblers, Charlie Worsham, Nikki Lane Cake, The Old 97’s, Hayes Carll, Hot Club of Cowtown December 9, 2011 Dawes, James McMurtry, Blitzen Trapper, December 30, 2011 Jason Isbell & The 400 Unit, Matthew Sweet (Rebroadcast from April 1, 2011) Mavis Staples, Dougie MacLean, Joy Kills Sorrow, December 16, 2011 Mollie O’Brien & Rich Moore, Tim O’Brien The Nighthawks, Chanler Travis Three-O, Milk Carton Kids, Sarah Siskind, Lucy Wainwright Roche Hayes Carll James McMurtry Mountain Stage® from NPR is a production of West Virginia Public Broadcasting December 2011 On The Radio December 2, 2011 December 9, 2011 Nikki Lane Stage Notes Stage Notes Brett Dennen - In the early 2000s, Northern California native Brett Dennen Dawes – The California-based roots rocking Dawes consists of brothers Tay- was a camp counselor who played guitar, wrote songs and performed fireside. lor and Griffin Goldsmith, Wylie Weber and Tay Strathairn. Formed in the Los With a self-made album, he began playing coffee shops along the West Coast Angeles suburb of North Hills, this young group quickly became a favorite of and picked up a devoted following. Dennen has toured with John Mayer, the critics, fans and the veteran musicians who influenced its music. After connect- John Butler Trio, Rodrigo y Gabriela and Ben Folds. On 2007’s “Hope For the ing with producer Jonathan Wilson, the group began informal jam sessions Hopeless,” he was joined by Femi Kuti, Natalie Merchant, and Jason Mraz. -
Serra-Joan-Identification-Of-Versions
Identification of Versions of the Same Musical Composition by Processing Audio Descriptions Joan Serrà Julià TESI DOCTORAL UPF / 2011 Director de la tesi: Dr. Xavier Serra i Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Copyright c Joan Serrà Julià, 2011. Dissertation submitted to the Deptartment of Information and Communica- tion Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Music Technology Group (http://mtg.upf.edu), Dept. of Information and Communica- tion Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. Als meus avis. Acknowledgements I remember I was quite shocked when, one of the very first times I went to the MTG, Perfecto Herrera suggested that I work on the automatic identification of versions of musical pieces. I had played versions (both amateur and pro- fessionally) since I was 13 but, although being familiar with many MIR tasks, I had never thought of version identification before. Furthermore, how could they (the MTG people) know that I played song versions? I don’t think I had told them anything about this aspect... Before that meeting with Perfe, I had discussed a few research topics with Xavier Serra and, after he gave me feedback on a number of research proposals I had, I decided to submit one related to the exploitation of the temporal information of music descriptors for music similarity. Therefore, when Perfe suggested the topic of version identification I initially thought that such a suggestion was not related to my proposal at all. -
Songs by Title
Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C. -
The Bern Nix Trio:Alarms and Excursions New World 80437-2
The Bern Nix Trio: Alarms and Excursions New World 80437-2 “Bern Nix has the clearest tone for playing harmolodic music that relates to the guitar as a concert instrument,” says Ornette Coleman in whose Prime Time Band Nix performed from 1975 to 1987. Melody has always been central to Nix's musical thinking since his youth in Toledo, Ohio, where he listened to Duane Eddy, The Ventures, Chet Atkins, and blues guitarist Freddie King. When his private instructors Don Heminger and John Justus played records by Wes Montgomery, Charlie Christian, Django Reinhardt, Barney Kessel, and Grant Green, Nix turned toward jazz at age fourteen. “I remember seeing Les Paul on TV. I wanted to play more than the standard Fifties pop stuff. I liked the sound of jazz.” With Coleman's harmolodic theory, jazz took a new direction—in which harmony, rhythm, and melody assumed equal roles, as did soloists. Ever since Coleman disbanded the original Prime Time Band in 1987, harmolodics has remained an essential element in Nix's growth and personal expression as a jazz guitarist, as evidenced here on Alarms and Excursions—The Bern Nix Trio. The linear phrasing and orchestral effects of a jazz tradition founded by guitarists Charlie Christian, Grant Green and Wes Montgomery are apparent in Nix's techniques, as well as his clean-toned phrasing and bluesy melodies. Nix harks back to his mentors, but with his witty articulation and rhythmical surprises, he conveys a modernist sensibility. “I paint a mustache on the Mona Lisa,” says Nix about his combination of harmolodic and traditional methods.