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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. -
Sammy Figueroa Full
Sammy Figueroa has long been regarded as one of the world’s great musicians. As a much-admired percussionist he provided the rhythmical framework for hundreds of hits and countless recordings. Well-known for his versatility and professionalism, he is equally comfortable in a multitude of styles, from R & B to rock to pop to electronic to bebop to Latin to Brazilian to New Age. But Sammy is much more than a mere accompanist: when Sammy plays percussion he tells a story, taking the listener on a journey, and amazing audiences with both his flamboyant technique and his subtle nuance and phrasing. Sammy Figueroa is now considered to be the most likely candidate to inherit the mantles of Mongo Santamaria and Ray Barretto as one of the world’s great congueros. Sammy Figueroa was born in the Bronx, New York, the son of the well-known romantic singer Charlie Figueroa. His first professional experience came at the age of 18, while attending the University of Puerto Rico, with the band of bassist Bobby Valentin. During this time he co-founded the innovative Brazilian/Latin group Raices, which broke ground for many of today’s fusion bands. Raices was signed to a contract with Atlantic Records and Sammy returned to New York, where he was discovered by the great flautist Herbie Mann. Sammy immediately became one of the music world’s hottest players and within a year he had appeared with John McLaughlin, the Brecker Brothers and many of the world’s most famous pop artists. Since then, in a career spanning over thirty years, Sammy has played with a -
The Art of Lyric Improvisation
THE ART OF LYRIC IMPROVISATION A Comparative Study of Two Renowned Jazz Singers ______________________________________________ A thesis in partial fulfilment of the Requirements for the Degree of Masters of Music in the University of Canterbury by S. J. de Jong University of Canterbury 2008 _________________________________________ de Jong i Table of Contents THE ART OF LYRIC IMPROVISATION ........................................................................................................ i Table of Contents ........................................................................................................................................... i Abstract .................................................................................................................................................... iii Introduction ................................................................................................................................................... 1 Chapter 1: Historical and Biographical Overviews ....................................................................................... 5 1.1: Jazz Historical Background ................................................................................................................ 5 1.2: “Sometimes I’m Happy” .................................................................................................................... 6 1.3: Sarah Vaughan .................................................................................................................................. -
John Coltrane John Coltrane John Coltrane
THE JOHN COLTRANE THE JOHN COLTRANE QUARTET PLAYS QUARTET PLAYS JOHN COLTRANE JOHN COLTRANE ™ ™ IMPD -214 IMPD -214 The John Coltrane The John Coltrane Quartet Plays Quartet Plays JOHN COLTRANE JOHN COLTRANE Several years ago in the course of reviewing one of his Personnel Several years ago in the course of reviewing one of his Personnel albums I had occasion to remark “that I consider [John] John Coltrane, soprano saxophone, tenor saxophone albums I had occasion to remark “that I consider [John] John Coltrane, soprano saxophone, tenor saxophone Coltrane the outstanding new artist to gain prominence McCoy Tyner, piano Coltrane the outstanding new artist to gain prominence McCoy Tyner, piano during the last half decade.” From my present vantage Jimmy Garrison, bass during the last half decade.” From my present vantage Jimmy Garrison, bass Art Davis, bass (#3, 5 & 6) point, the only regrets I have concerning that statement is point, the only regrets I have concerning that statement is Art Davis, bass (#3, 5 & 6) Elvin Jones, drums Elvin Jones, drums that I was so parsimonious with my praise. Not only is that I was so parsimonious with my praise. Not only is Coltrane the most distinguished jazz performer, in my Original sessions produced by Bob Thiele Coltrane the most distinguished jazz performer, in my Original sessions produced by Bob Thiele opinion, to have emerged since 1950, but more than perhaps Reissue produced by Michael Cuscuna opinion, to have emerged since 1950, but more than perhaps Reissue produced by Michael Cuscuna is realized, his career epitomizes all of the most crucial Recording engineer: Rudy Van Gelder is realized, his career epitomizes all of the most crucial Recording engineer: Rudy Van Gelder 2 developments that have taken place since then. -
Download 2017 Jazz Festival Program
February 23-25, 2017 Grounded in Tradition. Breaking New Ground. www.uidaho.edu/jazzfest hampjazz ii University of Idaho GENERAL INFORMATION GENERAL Welcome TO THE FESTIVAL AT THE UNIVERSITY OF IDAHO! elcome to 50 years of Vandal tradition – a half century of excellence at the Lionel Hampton Jazz Festival. This signature Vandal event is where key aspects of our mission – teaching, learning and exploration, and community engagement – truly take Wcenter stage. As we gather for a celebration of our festival’s history and its bright future, effectively captured in the “Grounded in Tradition. Breaking New Ground.” theme, we celebrate our students, our teachers both from UI and visiting, and our performers. Our 50th anniversary sees the festival with some changes, intended to refocus and reenergize this great event. For 2017 the Lionel Hampton Jazz Festival returned to our Lionel Hampton School of Music within the College of Letters, Arts and Social Sciences. I thank our School of Music for the way they’ve seamlessly handled this transition intended to improve the overall event experience for students, faculty and attendees. Their behind-the-scenes management is something many attendees may not notice, but will benefit from through a memorable experience. This year we have three days and nights of exciting music education and concerts, with all of it taking place right on campus. Another noticeable change is a shift in the student experience: The festival now offers a competitive track option for student performers. Adjudicators will hand-select soloists and combos from our K-12 participant ranks to perform on the main stage at each evening’s concert, as they did when Lionel performed here. -
George Benson
GEORGE BENSON BIOGRAPHY From hard bop guitarist to R&B/pop superstar, George Benson has worn a wide variety of hats over the years. R&B lovers know him as the guitar-playing vocalist who is responsible for such hits as "Give Me The Night" and "Turn Your Love Around", while the jazz world continues to treasue his classic instrumental albums of the 1960s and early 1970s. And it goes without saying that Benson's million-selling Breezin' album of 1976 practically defined the NAC, quiet storm, and contemporary jazz radio formats. Because the guitarist/singer is so diverse and unpredictable, one never knows what he will do from one album to the next - and on his latest GRP release, Absolute Benson, the eight- time GRAMMY®-winner surprises us once again by emphasizing instrumental music. While Benson's last album, 1998's Standing Together, was full of R&B/pop singing, only three of Absolute Benson's nine songs find him providing vocals: his rendition of Ray Charles's "Come Back Baby", an infectious remake of the late Donny Hathaway's soul classic "The Ghetto", and Benson's Latin-flavored "El Barrio" (a companion piece to "The Ghetto"). Everything else on the album is instrumental, and this time, Benson's distrinctive guitar playing takes center stage. Though Benson is still quite capable of playing straight-ahead hard bop, Absolute Benson isn't a bop album. Blending jazz with R&B and pop, Absolute Benson aims for accessibility and recalls Benson's albums of the early-to-mid 1970s. From the haunting "Deeper Than You Think", the intriguing "Medicine Man", and the slightly Wes Montgomery-ish "One On One" to the funky "Hipping The Hop" and a thoughtful version of Stevie Wonder's "Lately", Absolute Benson illustrates Benson's virtuosity without sacrificing his commitment to the groove, the beat and the melody. -
John Patitucci Biography
Three Faces Management John Patitucci Biography John Patitucci was born in Brooklyn, New York in 1959 and began playing the electric bass at age ten. He began performing and composing at age 12, at age 15 began to play the acoustic bass, and then started the piano at age 16. He quickly moved from playing soul and rock to blues, jazz and classical music. His eclectic tastes caused him to explore all types of music as a player and a composer. John studied classical bass at San Francisco State University and Long Beach State Uni- versity. In 1980, he continued his career in Los Angeles as a studio musician and a jazz artist. As a studio musician, John has played on countless albums with artists such as B. B. King, Bonnie Raitt, Chick Corea, Wayne Shorter, Herbie Hancock, Michael Brecker, George Benson, Dizzy Gillespie, Was Not Was, Dave Grusin, Natalie Cole, Bon Jovi, Sting, Queen Latifah and Carly Simon. In 1986, John was voted by his peers in the studios as the National Academy of Recording Arts and Sciences MVP on Acoustic Bass. As a performer, John has played throughout the world with his own band and with jazz luminaries Chick Corea, Herbie Hancock, Wayne Shorter, Stan Getz, Pat Metheny, Wynton Marsalis, Joshua Redman, Michael Brecker, McCoy Tyner, Nancy Wilson, Randy Brecker, Fred- die Hubbard, Tony Williams, Hubert Laws, Hank Jones, Mulgrew Miller, James Williams, Kenny Werner and scores of others. Some of the many pop and Brazilian artists he has played with include Sting, Aaron Neville, Natalie Cole, Joni Mitchell, Carole King, Milton Nascimien- to, Astrud and Joao Gilberto, Airto and Flora Purim, Ivan Lins, Joao Bosco and Dori Caymmi. -
Ella Fitzgerald 1944-1947
Ella Fitzgerald: syllabic choice in scat singing and her timbral syllabic development between 1944 and 1947 By Justin Garrett Binek 2 It is common in jazz discourse to praise Ella Fitzgerald as the greatest vocal improviser in the music’s history – Ella in fact declared herself to be exactly that1 - and this is part of the commonly accepted vocal jazz historical narrative. Improvisational methods praise her ideas as “excellent models for students of vocal jazz”2 and “musically and verbally inventive, filled with the joy of her creativity… represent[ing] the essence and pinnacle of scat singing”3; critical commentaries praise her “perfect balance between a steam enginelike propulsion and an ethereal playfulness”4; and reference books mention Fitzgerald as an exemplar of scat singing in definitions of the term5, using phrases like “It is mostly closely associated by the general public with Ella Fitzgerald and her many imitators.”6 Ella’s influence on other singers is illuminated in Chip Deffaa’s profile from Jazz Veterans: A Portrait Gallery7, written shortly before her death in 1996: “No living singer is more respected by other singers.” Deffaa quotes – among others – Annie Ross (“Like Charlie Parker, Ella can think it and execute it.”8), Jon Hendricks (“Ella’s a one-in-a-lifetime.”9), Anita O’Day (“The first time I heard Ella, in 1937, I said, ‘That is the girl. 1 Friedwald, Jazz Singing: America’s Great Voices from Bessie Smith to Bebop and Beyond, 282. 2 Madura, Getting Started with Vocal Improvisation, 29. 3 Stoloff, Scat! Vocal Improvisation Techniques, 8. -
Airline Training Center Multi-Purpose Hall
Voiume 39 Number 4 April 26, 199: AIRLINE TRAINING I CENTER mock ups of planes and airport areas. Cameras in the galley, mics in the ticket counters and remote operation of the audio- visual systems were all carefully installed. 38 Racks, Part Three The enclosure is the most apparent aspect of your installation. A comprehensive primer on rack enclosures, including ratings, con- struction materials, ergonomics, and tools for designing your racks. 44 Visiting CES CONFERENCE CENTER LINK The Consumer Electronics Show offers new formats, new technologies and new applica- When GRP Records consolidated its tions for products that might serve the com- mercial field. Our roving reporter gives a operations, the existing recording subjective view of CFS. 17 studio was linked to a new confer- The ADA And What It Says The Americans With Disabilities Act has ence center and to the individual ex- prompted facility changes. What exactly does the act say? 14 ecutives’ offices. And the sound had What’s New- In Magnetic to be consistent with the executives’ Structures More information on parts for speakers, in home listening room. 31 Mike Blasco’s periodic series - “Back to Basics.” This month: New Ideas. 59 L MULTI-PURPOSE HALL Despite near-perfect acoustics, a sound system was needed to enhance the flexibility of Boston Symphony Hall -for financial and for artistic reasons. Andrews Audio and Evening Audio installed a system that would foster better quality for TV and for guest artists without ruining the Orchestra performances.22 Networking the Conference Center GRP Records Can Access From Any Office BY JEFF ADER RP records recently cele- could do this the right way, the man Engineering for the past 10 years. -
Reel to Reel from This Point, There Is No Return
Reel to Reel From this point, there is no return ... TAPE 23 Deeply Soulful Get tempted by the bluesy Jazz of the Masters of Genres. With Elvis Costello & Allen Toussaint WOLFGANG BLEIER - VIENNA (A - RECORDED ON 28.12.2006 TOTAL PLAY TIME: 01:14:0217 TRACKS RECORDING EQUIPMENT: REVOX B77 MK II HS EMTEC PER 528 1/4" Audio BroadcastN.R. OFF 19 CM/S 2-TRACK STEREO AUDIO SOURCE: CD STUDER A727 REVOX B750 EQ: CCIR TR.SEP. 2 mm START SONG PERFORMED BY Pl. Time 00:00:13 TAKE ME HOME MARIA JOAO 00:02:01 00:01:10 RIGHT TO BE WRONG JOSS STONE 00:04:40 00:05:54 THE BRIGHTEST SMILE IN TOWN NILS LANDGREN & JOE SAMPLE 00:06:21 00:12:17 BRING IT ON HOME TO ME GEORGE BENSON & AL JARREAU 00:03:30 00:15:08 FREEDOM FOR THE STALLION ELVIS COSTELLO & ALLEN TOUSSAINT 00:02:25 00:18:02 ALL THESE THINGS ELVIS COSTELLO & ALLEN TOUSSAINT 00:04:05 00:22:12 NARROW DAYLIGHT DIANA KRALL 00:03:32 00:25:42 DEPARTURE BAY DIANA KRALL 00:05:40 00:31:20 TWO STEPS FROM THE BLUES BONNIE BRAMLETT 00:02:44 00:34:09 END OF THE ROAD MEDLEY GLADYS KNIGHT 00:11:51 00:45:57 NEARER TO YOU ELVIS COSTELLO & ALLEN TOUSSAINT 00:03:30 00:49:28 THE SHARPEST THORN ELVIS COSTELLO & ALLEN TOUSSAINT 00:04:16 00:53:40 WORLD I NEVER MADE DR. JOHN 00:03:59 00:57:42 IMAGINE RAY CHARLES 00:04:28 01:02:12 PEOPLE GET READY JEFFREY OSBORNE 00:03:21 01:05:37 STRANDED VAN MORRISON 00:05:34 01:11:15 SARAH JANE RAMSEY LEWIS 00:02:05 Reel to Reel 2006© User: WOLFGANG BLEIER - VIENNA (A) Printed: 13.10.2007 Page 1 Reel to Reel From this point, there is no return .. -
Downbeat.Com January 2016 U.K. £3.50
JANUARY 2016 U.K. £3.50 DOWNBEAT.COM DOWNBEAT LIZZ WRIGHT • CHARLES LLOYD • KIRK KNUFFKE • BEST ALBUMS OF 2015 • JAZZ SCHOOL JANUARY 2016 january 2016 VOLUME 83 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Baxter Barrowcliff ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sam Horn 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: -
Geographic Perspectives on Contemporary / Smooth Jazz
GEOGRAPHIC PERSPECTIVES ON CONTEMPORARY / SMOOTH JAZZ By WILLIAM ROBERT FLYNN Bachelor of Music in Classical Guitar Performance California State University, Fullerton Fullerton, California 2000 Master of Applied Geography Texas State University San Marcos, Texas 2001 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2014 GEOGRAPHIC PERSPECTIVES ON CONTEMPORARY / SMOOTH JAZZ Dissertation Approved: Dr. G. Allen Finchum Dissertation Adviser Dr. Brad A. Bays Dr. Jonathan C. Comer Dr. Thomas Lanners Outside Committee Member ii ACKNOWLEDGEMENTS Completing this dissertation and my doctoral program at Oklahoma State University would not have been possible without the support of many people over the past ten years. I would like to start with my advisor and chair, Dr. Allen Finchum, who not only happens to share my interest in smooth jazz, but has always been there for me. One could not ask for a better mentor, as he was always so giving of his time, whether we were discussing my research, talking about my experiences as a graduate instructor, or him just taking an interest in my personal life. I feel blessed to have been able to work with such a special graduate committee, comprised of Dr. Jon Comer, Dr. Brad Bays, and Dr. Tom Lanners. Dr. Comer sparked my passion for quantitative methods and spatial analysis, and Dr. Bays taught my very first course at OSU, a wonderful and stimulating seminar in historical geography. With Dr. Lanners, I could not have asked for a better fit for my outside committee member, and I feel privileged to have been able to work with a musician of his caliber.