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Spirituals Et Gospel
SPIRITUALS ET GOSPEL un parcours dans les musiques sacrées afro-américaines. Médiathèque François Mitterrand Décembre 2010 1 Histoire des Négro-spirituals Les origines L'origine des Negro Spirituals remonte au temps de l'esclavage. Ces chants, empreints d'espoir et de ferveur religieuse, expriment tout le drame des populations africaines déracinées et vendues pour travailler dans les plantations du sud des Etats-Unis. Le Gospel est une création plus récente née dans les communautés noires américaines des grandes villes du Nord. Tout a commencé en 1619, lorsqu'un navire hollandais débarqua sur les côtes de Virginie les premiers esclaves africains. On trouva que ces hommes s'adaptaient bien au climat et qu'ils pouvaient être d'un excellent profit pour l'économie locale. Aussi d'autres navires négriers suivirent et, année après année, pendant plus de deux siècles, des centaines de milliers d'êtres humains furent arrachés à leur sol natal et transportés, dans des conditions effroyables, vers les rives américaines. Pendant la traversée. Gravure 1840 (Librairie du congrès) 2 L'esclavage fut à son apogée, au début du 19ème siècle, avec le développement du coton. En 1860 on comptait plus de quatre millions d'esclaves aux Etats Unis. La guerre de Sécession et l'influence des mouvements humanistes conduisirent à l'abolition de l'esclavage en 1865. Mais c'est à la même époque qu'apparut le Ku Klux Klan et les réactions ségrégationnistes. La lutte pour une complète et réelle liberté allait encore durer bien des années, jusqu'aux mouvements pour les droits civiques, entre 1960 et 1970, avec l'inoubliable figure de Martin Luther King. -
Reggie Washington 02
ALBUM DETAILS WORLDWIDE CD RELEASE NOVEMBER 7th, 2018 TRACKLISTING 01. Always Moving (1:13) REGGIE WASHINGTON 02. Fall (7:49) 03. Eleanor Rigby (3:37) 04. Half Position Woody (8:07) 05. Afro Blue (3:10) 06. E.S.P (9:27) « VINTAGE NEW ACOUSTIC » 07. Thoughts of Buckshot (0:58) 08. Footprints (9:29) 09. Moanin‘ (4:28) 10. B3 Blues 4 Leroy (9:44) 11. Always Moving (0:59) (Reprise Ending) PERSONAL REGGIE WASHINGTON acoustic & electric basses BOBBY SPARKS acoustic piano, Fender Rhodes, keyboards & organ FABRICE ALLEMAN saxophones E.J. STRICKLAND drums META DATA ARTIST: Reggie Washington TITLE: Vintage New Acoustic GENRE: Jazz LABEL: Jammin’colorS CATALOG NUMBER: JC18-007-2 UPC: 715235041031 STREET & RADIO ADD DATE: 7 November 2018 ABOUT REGGIE WASHINGTON Reggie Washington is an artist of rare breed who can play acoustic and electric basses, who can sing, who can mix Jazz, Funk & World Music while combining the life of leader and sideman. Reggie was a key participant in the Modern Jazz revolution of the 80’s and 90’s. He became known touring, recording and performing with Steve Coleman, Bran- ford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie, Meshell Ndegeocello to name a few. In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J. Strickland, Jozef Dumoulin, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell and Ronny Drayton. TOUR DATES In 2015, Reggie started touring throughout Europe with his project “Rainbow Shadow - A tribute to Jef Lee Johnson“ featuring guitarists Marvin Sewell or Da- VINTAGE NEW ACOUSTIC vid Gilmore, drummer Patrick Dorcéan & DJ Grazzhoppa on turntables. -
Mark's Music Notes for December 2011…
MARK’S MUSIC NOTES FOR DECEMBER 2011… The Black Keys follow up their excellent 2010 album Brothers with the upbeat El Camino, another great album that commercial radio will probably ignore just like it did with Brothers. In a day and age where CD sales are on the decline, record labels continue to re-issue classic titles with proven track records in new incarnations that include unreleased material, re-mastered sound, and often lavish box sets. Though not yet included in Music Notes, Pink Floyd and Queen both had their entire catalogs re-vamped this year, and they sound great. Jethro Tull’s classic Aqualung album has been expanded, re-mixed and re-mastered with the level of care and quality that should be the standard for all re-issues. The Rolling Stones have already released expanded remasters and box sets on Exile On Main Street and Get Yer Ya-Ya’s Out, and now their top selling album, Some Girls has received the same treatment. Be Bop Deluxe is a 1970’s band that most readers will be unfamiliar with. They never had any mainstream success in the U.S., but the band had several great albums, and their entire studio catalog has recently been remastered and compiled into a concise box set. The Black Keys – El Camino Vocalist/guitarist Dan Auerbach and Drummer Patrick Carney of The Black Keys, have said that they have been listening to a lot of Rolling Stones lately, and they set out to record a more direct rock and roll album than their last album, Brothers was. -
ROC136.Guit T.Pdf
100 GREATEST GUITARISTS Hammett: oNe iN A MiLLioN “innovative”. KiRK HaMMEtt By Ol Drake For me, Kirk Hammett is one of the More stars on their top guitarists greatest metal guitarists ever – and also one at classicrock of the most underrated. The thing about magazine.co.uk his playing is that, while he can certainly shred, that’s not all he does. Kirk has his own voice and style – and to me, that’s ADMiRABLe NeLSoN instantly recognisable. BiLL NELsON The problem is that everyone knows By Brian Tatler Metallica’s songs so well that what he contributes is overlooked. More than that, Bill Nelson was one of my favourite people take him for granted. You walk guitarists in the 1970s. I used to into a guitar shop at any time, and the } listen to Be Bop Deluxe albums a lot, chances are you’ll hear someone “Davy O’List’s and Bill’s solos always seemed very playing one of his solos, from a song tasteful, not bluesy, just kind of like One. And there will always be guitar playing soaring. I really liked his playing and a bright spark going: “That’s just was incendiary, some of it rubbed off on my boring. Anyone can play that.” The technique, particularly songs such as point is that not everyone can play borderline Jet Silver (And The Dolls Of Venus), what Kirk did on something like One, psychotic. Maid In Heaven and Crying To The Sky and he also came up with it in the first – they all had these fabulous, place. -
Nomination to the Federal Communications Commission
S. HRG. 115–478 NOMINATION TO THE FEDERAL COMMUNICATIONS COMMISSION HEARING BEFORE THE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION UNITED STATES SENATE ONE HUNDRED FIFTEENTH CONGRESS FIRST SESSION JULY 19, 2017 Printed for the use of the Committee on Commerce, Science, and Transportation ( Available online: http://www.govinfo.gov U.S. GOVERNMENT PUBLISHING OFFICE 35–161 PDF WASHINGTON : 2019 VerDate Nov 24 2008 11:28 Feb 27, 2019 Jkt 000000 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 S:\GPO\DOCS\35161.TXT JACKIE SENATE COMMITTEE ON COMMERCE, SCIENCE, AND TRANSPORTATION ONE HUNDRED FIFTEENTH CONGRESS FIRST SESSION JOHN THUNE, South Dakota, Chairman ROGER F. WICKER, Mississippi BILL NELSON, Florida, Ranking ROY BLUNT, Missouri MARIA CANTWELL, Washington TED CRUZ, Texas AMY KLOBUCHAR, Minnesota DEB FISCHER, Nebraska RICHARD BLUMENTHAL, Connecticut JERRY MORAN, Kansas BRIAN SCHATZ, Hawaii DAN SULLIVAN, Alaska EDWARD MARKEY, Massachusetts DEAN HELLER, Nevada CORY BOOKER, New Jersey JAMES INHOFE, Oklahoma TOM UDALL, New Mexico MIKE LEE, Utah GARY PETERS, Michigan RON JOHNSON, Wisconsin TAMMY BALDWIN, Wisconsin SHELLEY MOORE CAPITO, West Virginia TAMMY DUCKWORTH, Illinois CORY GARDNER, Colorado MAGGIE HASSAN, New Hampshire TODD YOUNG, Indiana CATHERINE CORTEZ MASTO, Nevada NICK ROSSI, Staff Director ADRIAN ARNAKIS, Deputy Staff Director JASON VAN BEEK, General Counsel KIM LIPSKY, Democratic Staff Director CHRIS DAY, Democratic Deputy Staff Director RENAE BLACK, Senior Counsel (II) VerDate Nov 24 2008 11:28 Feb 27, 2019 Jkt 000000 PO 00000 Frm 00002 Fmt 5904 Sfmt 5904 S:\GPO\DOCS\35161.TXT JACKIE C O N T E N T S Page Hearing held on July 19, 2017 ............................................................................... 1 Statement of Senator Thune .................................................................................. -
Kevin Milburn Futurism and Musical Meaning in Synthesized
Kevin Milburn Futurism and Musical Meaning in Synthesized Landscapes Abstract The purpose of this paper is to explore how musicians engaged with a particular form of technology, the synthesizer, to create imaginative geographies of the near future. It examines the output of numerous ‘synth-pop’ acts involved in the production of this commercially successful, urban-focussed music, focussing on the period between 1977 and 1984. Attention is given to how this music both embedded and self-consciously reflected notions of futurism, a theme that, until that time, had largely been neglected in popular music. The role of earlier futuristic visionaries, such as Fritz Lang, JG Ballard and Stanley Kubrick, in shaping musicians depictions of futurism is highlighted. Throughout, the music is interpreted by situating it within the specific cultural, economic and sociotechnical realms in which it was produced. Whilst the emphasis is on debates concerning futurism that were played out within a British musical context reference is also made to related significant developments that occurred outside the UK. This paper assesses the way that notions of futurism were enrolled into electronic music in certain times and places. Naturally, in many respects, all contemporary popular music is now ‘electronic’; if not in its instrumentation then almost certainly in terms of its recording, distribution and consumption. However, my analysis of ‘electronic music’ refers to music in which electrically powered keyboard instruments, and specifically synthesizers, are to the fore of the mix, and where many of the sounds produced are clearly synthetically generated. In particular, the focus is on a form of electronic music, given the genre-label ‘synth-pop’ for marketing purposes, that was produced by artists sometimes referred to as ‘futurists’. -
Authenticity, Politics and Post-Punk in Thatcherite Britain
‘Better Decide Which Side You’re On’: Authenticity, Politics and Post-Punk in Thatcherite Britain Doctor of Philosophy (Music) 2014 Joseph O’Connell Joseph O’Connell Acknowledgements Acknowledgements I could not have completed this work without the support and encouragement of my supervisor: Dr Sarah Hill. Alongside your valuable insights and academic expertise, you were also supportive and understanding of a range of personal milestones which took place during the project. I would also like to extend my thanks to other members of the School of Music faculty who offered valuable insight during my research: Dr Kenneth Gloag; Dr Amanda Villepastour; and Prof. David Wyn Jones. My completion of this project would have been impossible without the support of my parents: Denise Arkell and John O’Connell. Without your understanding and backing it would have taken another five years to finish (and nobody wanted that). I would also like to thank my daughter Cecilia for her input during the final twelve months of the project. I look forward to making up for the periods of time we were apart while you allowed me to complete this work. Finally, I would like to thank my wife: Anne-Marie. You were with me every step of the way and remained understanding, supportive and caring throughout. We have been through a lot together during the time it took to complete this thesis, and I am looking forward to many years of looking back and laughing about it all. i Joseph O’Connell Contents Table of Contents Introduction 4 I. Theorizing Politics and Popular Music 1. -
Eté 2020 Sur La Route Des Festivals
estivals Fici et ailleurs Eté 2020 Sur la route des festivals Renaud Capuçon le 4 août à La Roque d’Antheron © -simon-fowler et des expositions Saint-Paul de Mausole - St-Rémy de Provence © Pierre Aimar Festivals p 29 - Festival du Mas Daudet p 4 - Festival de Lourmarin p 30 - Festival Valloire baroque p 5 - Festival Durance Luberon p 31 - Musique en Pays du Mont-Blanc p 6 - Festival Cuivres en Dombes p 32 - Festival de Lacoste p 6 - Sérénades en Baronnies p 32 - Festival de Soliès-Pont p 7 - Festival de Menton p 33 - Les Suds, à Arles p 8 - Rencontres de Riquer p 33 - Les Baroquiales Sospel p 8 - Nice Jazz Summer Sessions p 34 - Les Musicales du Luberon p 9 - La Balade des Cordes p 35 - Les Instants de Grasse p 10 - Festival de Sylvanès Expositions p 11 - Festival Jazz à Sète p 37 - Saint-Antoine l’Abbaye p 12 - Festival Pablo Casals p 37 - Abbaye de Montmajour p 14 - Festival Liszt en Provence p 38 - Aix Flâneries d’art p 16 - Dialogue au Carmélites p 38 - Annecy trésors romains p 17 - Saou chante Mozart p 39 - Arles Fondation Rivera-Ortiz p 18 - Festival de Bruniquel p 40 - Aubusson 10 ans de création p 19 - Musicales du Parc des Oiseaux p 40 - Avignon Viva Villa p 19 - Festival d’art lyrique de Salon p 41 - Avignon Joaquin Sorolla p 20 - Festival d’Ambronay p 42 - Avignon Jean-Marie Fage p 20 - Promenades musicales La Louvesc p 42 - Entre 4 yeux Villeneuve-Avignon p 21 - Festival des Arcs p 43 - Bonnard et Le Cannet p 21 - Albertville Jazz festival p 44 - Poët-Laval hommage à Y. -
Honoraries Graduation 2018
Honorary Doctorates Honorary Doctorates are awarded to individuals with personal distinction and public service in a field relevant to the University’s activities who have a connection with the University, the city of Winchester or the region. Honorary Fellows Honorary Fellowships are awarded to individuals in recognition of their service to the mission, values, disciplines and community of the University of Winchester. Wendy Allsopp Honorary Fellowship for services to choreography Wendy Allsopp began dance studies with Miss Catherine Blellock in Leigh-on-Sea, Essex. At the age of 12, she joined the Arts Educational School, Tring, specialising in Ballet and Music before joining the Royal Ballet School Teacher Training Course at the age of 16. She graduated in 1975 as Head Student with the Royal Ballet School Diploma for the teaching of Ballet, the Leonide Massine Choreographic Diploma (Hons) and the Benesh Notation Diploma. Wendy then came to Winchester to take over a small dance school previously run by former Olympic athlete, Maureen Gardner. The Lewis-Allsopp School has grown to provide a sound training for aspiring dancers and dance enthusiasts. Wendy coaches students with a special aptitude for dance for auditions to vocational schools. Former pupils have gone forward to dance with the Royal Ballet, international ballet companies and on the West End stage. Many pupils have also gone on to teach dance and form successful dance companies. Her dance school also has a performance group who go out to take dance into the community. Wendy is now assisting the Imperial Society of Teachers of Dancing, working with established teachers as a mentor to further their education in dance studies. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
ELECTRONICS- MUSIC- HOME RECORDING August 1984 BILL
ELECTRONICS- MUSIC- HOME RECORDING August 1984 BILL NELSON REMOTELY MIDI. JHRT he video revolution is making a dramatic impact on T the way the music industry looks at its own product. Careers come to life overnight in the eye of a camera. In an Industry Artists who’ve tried to get their tapes heard for years, are suddenly gaining long-deserved visibility. If locking into video is your next step, TASCAM Where Out of Sight advanced audio systems can move your music right into the picture. Our recorder/reproducers give you the Can Put You solid quality and innovative functions you demand as a professional, syncing you to the limitless possibilities of video. Our mixers put you in total control of the creative Out of Mind, process, with engineering depth and operational ease. For mixing, our M-520 places a full range of artistic choices at your command, with 20 balanced input channels, Tascam Gives Your 8 print busses and 16 tape returns, effects busses, an independent 16-input monitoring section, and much more. For recording/reproducing, our 58 is the industry’s first Music V2” 8-track with all the technological sophistication of a 1” machine, but at far less cost. Its unique “Omega Drive” Video Visibility. assures exacting tape to head contact and smooth tape handling - entirely eliminating tape stretch or bounce. And microprocessor 3-motor servo control significantly speeds up your recording and editing, taking you quickly and accurately to your mark without stalking and stuttering through time code. And if your budget is a bit more restrictive, take a close look at our hard-working 48, boasting most of the 58’s comprehensive features. -
Wherever They Play, Boney Fields and the Bone's Project Leave Behind Them a Lasting Impression. Like a High Energy Gunpowder T
© Matthieu FAURE – Brenda TURNNIDGE Wherever they play, Boney Fields and The Bone’s Project leave behind them a lasting impression. Like a high energy gunpowder trail, dispensing a cross of blues and funk which unites and rallies the masses in a heavenly musical communion. Fronted by the dynamic, trumpet player, singer/songwriter Boney Fields, the combo has gained a bigger and bigger following. The bowler-hatted musician has come a long way since founding his own band, ten years ago. If he comes from Chicago Blues, he has expanded the contours with an iron willed determination. A lover of soul, groove, jazz, Boney Fields knows, as do certain other musicians of his generation, that the life of blues exists through constant evolution and rejuvenation. With humility and conviction, he follows his own path finding his own originality on the way. A man resolutely of his time, yet also immersed in the heritage of his musical forefathers, Boney Fields proves that the blues still has some great days ahead of it. Romain GROSMAN (Vibrations – Jazz News – Les Inrocks …) CHANGING FOR THE FUTURE BIOGRAPHY Boney Fields hails from the Chicago ghetto, where he was born at the end of the fifties. In his family, some played blues, others gospel. He studied jazz at In 1999 he produced « Hard Work » his college choosing the trumpet, « cause I first self produced album. An loved Louis Armstrong » he recalls. atmosphere « Blaxploitation » soul-blues Amongst his favourite artists : James horns : the musician wrote most of the Brown, Tina Turner and Otis Redding. tracks. Soon after, he started hanging out in the On 2003’s « Red Wolf » released under blues clubs in the « Windy City ».