Phillip Johnston 7Tet Program
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Top 40 Singles Top 40 Albums
23 February 1992 CHART #798 Top 40 Singles Top 40 Albums Smells Like Teen Spirit Don't Talk Just Kiss The Commitments OST The Globe 1 Nirvana 21 Right Said Fred 1 Various 21 Big Audio Dynamite Last week 2 / 6 weeks BMG Last week - / 1 weeks FESTIVAL Last week 1 / 6 weeks Platinum / BMG Last week - / 1 weeks SONY Rush Cream Nevermind We Can't Dance 2 Big Audio Dynamite 22 Prince 2 Nirvana 22 Genesis Last week 1 / 9 weeks SONY Last week 12 / 14 weeks WARNER Last week 2 / 11 weeks Gold / UNIVERSAL Last week 22 / 11 weeks Gold / VIRGIN Remember The Time Turn It Up Waking Up The Neighbours Blood Sugar Sex Majik 3 Michael Jackson 23 Oaktowns 3.5.7 3 Bryan Adams 23 Red Hot Chili Peppers Last week - / 1 weeks SONY Last week 18 / 9 weeks EMI Last week 4 / 18 weeks Platinum / POLYGRAM Last week 19 / 16 weeks WARNER Justified And Ancient Pride (In The Name) From Time To Time Mr Lucky 4 The KLF 24 Coles & Clivilles 4 Paul Young 24 John Lee Hooker Last week 11 / 4 weeks FESTIVAL Last week - / 1 weeks SONY Last week 3 / 6 weeks Gold / SONY Last week 24 / 19 weeks Gold / VIRGIN Let's Talk About Sex Is It Good To You Shepherd Moons Full House 5 Salt N Pepa 25 Heavy D & The Boyz 5 Enya 25 John Farnham Last week 5 / 17 weeks POLYGRAM Last week 48 / 6 weeks BMG Last week 5 / 11 weeks WARNER Last week 16 / 7 weeks Gold / BMG Remedy Martika's Kitchen Achtung Baby Armchair Melodies 6 The Black Crowes 26 Martika 6 U2 26 David Gray Last week - / 1 weeks WARNER Last week 24 / 7 weeks SONY Last week 8 / 10 weeks Platinum / POLYGRAM Last week 31 / 3 weeks BMG Don't -
OBITUARY: ANDY BROWN 1938-2004 By
OBITUARY: ANDY BROWN 1938-2004 by John Pochée __________________________________________________________ [This obituary appeared in the February, 2005 edition of the newsletter of the Jazz Action Society of NSW] any of us have been saddened by the news of the death of New Zealand double bassist Andy Brown in early January at his home in Auckland, aged M 66 after a long illness. Andy had a long career in NZ, Australia, London and Europe. I first played with Andy when he came to Melbourne from Auckland to join Dave MacRae, Bernie McGann and myself at the Fat Black Pussycat venue in 1964. The band was known as The Heads and played at the club five nights a week. There were later appearances in Brisbane and Sydney under that name, sometimes with the addition of Bob Bertles. Andy and I played in different situations together throughout the rest of the '60s including The Way Out Club in Brisbane, Spellsons in Newport, The Dollar Club in Adelaide and, in Sydney, The Mandarin Club, The El Rocco with the Chuck Yates Trio, and two years at Chequers Nightclub. Andy Brown (bass) is on the far right, then R-L, John Pochée (drums), Bernie McGann (alto saxophone), Bob Bertles (obscured behind McGann), Dave MacRae (piano) at the Katoomba Jazz Festival in 1966…PHOTOGRAPHER UNKNOWN During this time, we still played concerts as a quartet or quintet and played on the Katoomba and Newport Jazz Festivals as the Dave MacRae Quartet. In 1967 we were featured along with bands led by Judy Bailey, John Sangster and Don Burrows on the historic recording Jazz Australia. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
Edition 3 | 2018-2019
2018-2019 SEASON Letter from the Chairman 7 Letter from the CEO 9 Legally Blonde The Musical 10 Tap Dogs 22 Palace Theater Staff Directory 35 Program information for tonight’s presentation inside. The Palace would like to thank all of its Program advertisers for their support. ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2019. All rights reserved. Printed in the U.S.A. letter from the chairman s Chairman of the Board of Directors for the Palace A Theater, I am grateful for the opportunity to serve this organization, and enthusiastic about its future. Committed to fostering the Palace’s success, the Board of Directors is currently working on a new three-year Strategic Business Plan, which will chart out the artistic, organizational, and financial goals for the theater. Focusing on expanded arts and educational programming, marketing, capital projects, and financial development, the objective of the plan is to continue expanding our current entertainment initiatives and ensure financial sustainability and growth for the Palace for years to come. Artistic success and economic stability help us provide a welcoming stage for both local and national arts groups. While we consistently seek out top-tier productions and popular artists, we also look to foster the next generation of talent, through our partnership with the Waterbury Arts Magnet Schools and our own educational programs. -
Ian Carr & Nucleus
Ian Carr & Nucleus HOME Discografia completa Gruppo Album Anno Label Nucleus Elastic Rock 1970 Vertigo Nucleus We'll Talk About It Later 1970 Vertigo Nucleus Solar Plexus 1971 Vertigo Ian Carr & Nucleus Belladonna 1972 Vertigo Nucleus Labyrinth 1973 Vertigo Nucleus Roots 1973 Vertigo Nucleus Under The Sun 1974 Vertigo Nucleus Alleycat 1975 Vertigo Nucleus Snakehips Etcetera 1975 Vertigo Nucleus In Flagrante Delicto 1977 Capitol Nucleus Out Of The Long Dark 1979 Capitol Nucleus Awakening 1980 Mood (Ian Carr's) Nucleus Live At The Theaterhaus 1985 Mood Ian Carr Feat. Nucleus Old Heartland 1988 EMI Formazione e composizioni NUCLEUS - Elastic Rock 1. 1916 (jenkins) (1:11) 2. Elastic Rock (Jenkins) (4:05) 3. Striation (Clyne/Spedding) (2:15) 4. Taranaki (Smith) (1:39) 5. Twisted Track (Brown/Spedding) (5:15) 6. Crude Blues, Pt.1 (Carr/Jenkins) (0:54) 7. Crude Blues, Pt. 2 (Carr) (2:36) 8. 1916 The Battle Of Boogaloo (Jenkins) (3:04) 9. Torrid Zone (Jenkins) (8:40) 10. Stonescape (Jenkins) (2:39) 11. Earth Mother (Carr/Clyne/Jenkins/Marshall/Smith/Spedding) (5:51) 12. Speaking For Myself, Personally, In My Own Opinion, I Think (Marshall) (0:54) 13. Persephones Jives (Carr) (2:15) Formazione: Ian Carr (tpt/flghn) Karl Jenkins (ob/bs/elp/p) Brian Smith (ts/ss/fl) Chris Spedding (g/bouzouki) Jeff Clyne (b/cb) John Marshall (d) Registrazione : gen 1970 - Località : London (Trident) - Produzione : Pete King Edizione: 1970 (Vertigo) [Rieditato in CD: Line/BGO assieme all'album successivo "We'll Talk About It Later"] NUCLEUS - We'll Talk About It Later -
AN Fall 2006
UNB Vol. 15 No. 1 ALUMNI NEWS Fall 2006 MAKING A SIGNIFICANT DIFFERENCE DONOR HONOUR ROLL, UNB SEE CENTRE SECTION UNIVERSITY OF NEW BRUNSWICK WWW.UNB.CA/UNBDIFFERENCE Where it’s hopping. In New Brunswick, where there are great jobs, affordable housing, safe communities and a quality of life that’s virtually unmatched. Along with many other New Brunswickers who’ve come home for challenging careers and a balanced lifestyle. Right now. Employers need talented people like you. Don’t wait. Log on and check out the career level opportunities posted on the website. NBjobs.ca BE PROUD OF IT. Fall 2006UNB Vol. 15 No. 1 BE PART OF IT. ALUMNI NEWS INSIDE 12 Oh Happy Day! More than 1,700 students graduated from the Fredericton campus, and more than 400 from Associated Alumni the Saint John campus in May Council Members during spring graduation President ceremonies. Barry Beckett (PhD’70) Vice-President Kevin Ferguson (BBA’92, BA’93) 18 Reunions past and future Treasurer Carol Foley (BBA’83) A number of classes — Secretary Larry Hachey (BBA-SJ’87) 1941, 1946, 1956, to Immediate Past President name but a few — returned Carey A. Ryan (BA’70, MEd’79) to the Fredericton campus Board of Governors Representatives Andy Devereaux (BScEE’71, BA’73, DLitt’98) in June for reunions Carey A. Ryan (BA’70, MEd’79) Gary Donahee (BPE’70) coinciding with the Councillors association’s annual Ian Allen (BA’97, MEd’98) Renée Fleming (BScF’00) lobster boil. Meanwhile, Todd Grimes (BBA’01) we’re making changes to Anne Higgins (BEd’92, MEd’96) Peter Jolly (BScCE’60) our reunion program. -
Abc Music Wins Three Awards at the 2020 Aria Awards Abc Music Lifetime Award Wins Now at 188
THURSDAY, NOVEMBER 26 FOR IMMEDIATE RELEASE ABC MUSIC WINS THREE AWARDS AT THE 2020 ARIA AWARDS ABC MUSIC LIFETIME AWARD WINS NOW AT 188 Following the 2020 ARIA Awards last night, ABC Music has collected three awards across the Best Children’s Album, Best World Music Album & Best Classical Album categories. The awards were won by Teeny Tiny Stevies ‘Thoughtful Songs for Little People’ (Best Children’s Album), Joseph Tawadros ‘Live at the Sydney Opera House’ (Best World Music Album) and Richard Tognetti & Erin Helyard ‘Beethoven & Mozart Violin Sonatas’ (Best Classical Album). Last night’s event saw Teeny Tiny Stevies win their first-ever ARIA Award. “We’ve been working musicians for so long now, this nod from the industry is definitely a proud moment. If I’m lucky I’ll get a few high fives from other parents at school drop off today,” said Byll Stephen, half of the sister duo. The night marked the fifth ARIA win for Tawadros and Tognetti. “It’s been a hard year for musicians everywhere - like me, most have had no live shows and it’s devastating. This recognition of my music is extra special, especially as it’s a live concert recording with a lively audience. I want to thank everyone who was involved in making it happen. It’s some much-needed light in a very challenging year,” said Joseph. On winning Best Classical Album with Richard Tognetti, Erin Helyard said, “Richard & I are old mates and are delighted to have won. We wanted to present a kind of history of the evolution of the eighteenth-century violin sonata, and the city of Vienna. -
THE LEN BARNARD STORY by Len Barnard
THE LEN BARNARD STORY by Len Barnard _______________________________________________________ [This story was serialised in the first seven editions of the Australian Jazz Magazine, 1981-82.] Part 1: Jazz Magazine, January/February, 1981 n a recent conversation with Don Burrows, we both decided that the thirties in Australia were great years in which to grow up. I don’t expect everyone to enjoy I reading reminiscences — but I have the usual wistful hopes. I arrived as the farthing was going out as viable currency, but half pennies were still reasonably capable. Coleslaw was totally unknown, and all the shops were a bit musty by present standards. Perhaps because there was no processed food. L-R, Don Burrows, Bob Barnard, Len Barnard, Kenny Powell: the thirties in Australia were great years in which to grow up…PHOTO COURTESY LORETTA BARNARD One could buy a “ha’porth of specks” from a fruiterer — quite a large bag of apples, pears and bananas that were approaching over maturity. Cheese was cut with wire, butter with butter-pats and weighed on brass scales. Bags of broken biscuits from the grocer for a penny. Were people so fastidious in those days that they shunned speckled fruit and shattered biscuits? 1 My small, pimply friends and I would sit by a canal on Point Nepean Road, eating our ‘specks’ and identifying the traffic. Hupmobiles, Capitol Chevvies, Amilcars, Fiats, Studebakers, Hudson Terraplanes, Plymouths, Pontiacs and the odd Stutz Bearcat. At home we had radio (wireless) and records. Ray Noble and Al Bowlly — Sweet Virginia, By The Fireside, Time On My Hands. -
Songs About Perth
Edith Cowan University Research Online ECU Publications Post 2013 2016 Nothing happens here: Songs about Perth Jon Stratton Independent Scholar, Perth, Australia Adam Trainer Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/ecuworkspost2013 Part of the Australian Studies Commons, and the Social and Cultural Anthropology Commons 10.1177/0725513616657884 This is an Author's Accepted Manuscript of: Stratton, J., & Trainer, A. (2016), Nothing happens here: Songs about Perth. Thesis Eleven, 135(1), 34-50. Reprinted by permission of SAGE Publications. Available here This Journal Article is posted at Research Online. https://ro.ecu.edu.au/ecuworkspost2013/2163 Nothing Happens Here: Songs About Perth Jon Stratton Adam Trainer Abstract This essay examines Perth as portrayed through the lyrics of popular songs written by people who grew up in the city. These lyrics tend to reproduce the dominant myths about the city, that it is isolated, that it is self-satisfied, that little happens there. Perth became the focus of song lyrics during the late 1970s time of punk with titles such as ‘Arsehole Of The Universe’ and ‘Perth Is A Culture Shock.’ Even the Eurogliders’ 1984 hit, ‘Heaven Must Be There,’ is based on a rejection of life in Perth. However, Perth was also home to Dave Warner whose songs in the 1970s and early 1980s offered vignettes, which is itself a title of one of Warner’s tracks, of the youthful, male suburban experience. The essay goes on to examine songs by the Triffids, Bob Evans, Sleepy Township and the Panda Band. Keywords: Perth; songs; music; place; isolation; lyrics Myths of the City Every city has its myths. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
SMOKE SIGNALS" (Cuneiform Rune 150)
Bio information: MATCHING MOLE Title: "SMOKE SIGNALS" (Cuneiform Rune 150) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://www.cuneiformrecords.com FILE UNDER: ROCK/PROGRESSIVE ROCK Matching Mole was the band formed by drummer/vocalist Robert Wyatt after he left the pioneering UK outfit Soft Machine in July, 1971. Soft Machine were hugely popular in France, and Robert got the name of his new band as a play on the French translation of Soft Machine: Machine Molle. What eventually became the first Matching Mole album was begun as a solo album by Robert in late 1971. Midway through recording, he was joined by guitarist Phil Miller (Delivery, Hatfield & The North, National Health), organist Dave Sinclair (Caravan), bassist Bill MacCormick (Phil Manzaneraʼs 801) and guest electric pianist Dave MacRae (Mike Westbrook). These recordings became their self titled first album, released in early 1972. Sinclair left soon after the release of their album, and MacRae joined full time. This quartet performed often throughout Europe, and recorded a second album, Little Red Record, which was produced by Robert Fripp of King Crimson, and which was released in fall,1972. Shortly after the release of Little Red Record, Robert decided that he did not want the responsibilities of being a band leader & broke up the band. For a band that was only in existence for a year, Matching Mole was particularly active: two studio albums, over fifty concerts in Britain and continental Europe,and a number of TV and radio broadcasts. Smoke Signals compiles all previously unreleased performances from the bandʼs most intense gigging period, the spring of 1972, and has been assembled to replicate their continuous concert set. -
Round Midnight
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA MUZIKOLOGIE Vývoj a prom ěny jazzového standardu ’Round Midnight Development And Tranformations Of Jazz Standard ’Round Midnight Bakalá řská práce Autorka práce: Tereza Štaudová Vedoucí práce: Mgr. Jan P řibil OLOMOUC 2015 Pod ěkování Up římn ě d ěkuji Mgr. Janu P řibilovi za odbornou pomoc p ři vedení mé bakalá řské práce. Velice si cením jeho p řipomínek a rad. Dále d ěkuji všem, kte ří m ě p ři psaní této práce podporovali. Prohlášení Prohlašuji, že p ředložená bakalá řská práce je mým p ůvodním autorským dílem, které jsem vypracovala samostatn ě. Veškerou literaturu a další zdroje, z nichž jsem p ři zpracování čerpala, v práci řádn ě cituji a uvádím je v seznamu použité literatury. V Olomouci dne …………… ……………………... podpis OBSAH ÚVOD .......................................................................................................................................................... 4 1. STAV BÁDÁNÍ ....................................................................................................................................... 6 2. VZNIK SKLADBY ’ROUND MIDNIGHT A JEJÍ RANÝ VÝVOJ ................................................ 17 2.1 ZÁKLADNÍ ZNAKY OSOBNOSTI A TVORBY THELONIA MONKA .......................................................... 17 2.2 VZNIK SKLADBY ’ROUND MIDNIGHT A JEJÍ ANALÝZA ....................................................................... 20 2.3 PRVNÍ NAHRÁVKY ’ROUND MIDNIGHT .............................................................................................