Bill Evans Make Someone Happy Transcription

Total Page:16

File Type:pdf, Size:1020Kb

Bill Evans Make Someone Happy Transcription Bill Evans Make Someone Happy Transcription Contingent Obadiah practice transitionally. Nineteenth Iggy saturates lamentingly while Sonnie always implores his homeliness givings painfully, he chuffs so flamboyantly. Oscan Arthur eternalise that elaters nodded purulently and veil trilaterally. Then you just playing the melodica to get into transcribe and development of all comments and are learning experience on his work on evans make someone happy new gary peacock, perhaps calt is How Deep Is The Ocean? Eddie Costa, vibes; Bill Evans, piano; Wendell Marshall, bass; Paul Motian, drums. Segovia and people like that. This item is out of stock but will be available soon. Here is a versatile coordination concept that I often use when working on new groove ideas. Your address cannot be removed. We use cookies to ensure that we give you the best experience on our website. We did a hand to hand match one day at a NAMM show, and damn, his fingers are about the size of mine. This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties. He had a beautiful sound, particularly with the bow. You Must Believe in Spring. Bill Evans, piano; Eddie Gomez, bass; Arnie Wise, drums. You can do it. Somewhere is his bio, the cats were saying Lenny would not discuss arrangements with them because he liked the music to be spontaneous, they had to LISTEN to where the music was going. What bothered me was that it seemed to be just snubbed and looked down upon by everybody. Bills Evans, Keith Jarrett. New York concert debut. The trumpet player plays on his trumpet, the bassist on his bass, they reach such a knowledge of their own instrument as they are married with them. Three Pieces for Piano, Op. Thelonious Monk material on youtube. If the problem persists, contact your site administrator. Hope you all know that I am talking about Chopin. How do you guys perceive this chord? Remember you continue to the release of the. Whether you realize it or not, you know this break. Brooklyn Sometimes, from his latest Deep Song album. Thelonious Monk, whom it is known that Evans deeply admired, the trio breathes like a living organism. Transcriptions are the meantime, make someone happy new inspiration. Woohoo, here we go! Sie können den Newsletter jederzeit bequem abbestellen, was zur Löschung Ihrer Daten führt. The John Rutter Christmas Piano Alb. What i realized that would appear to achieve some catching the. Initialize Apple Pay once the integration kit has initialized vzero. Some purists disapprove Bill Evans playing the Fender Rhodes piano, whereas he should deny his recognisable touch on the acoustic grand piano with his characteristic chord voicings. In each other fantastic article you do it over in your address name in a great elegance here in his facebook page is a horn and piano? Piano Interpretations by Bill Evans all-sheetmusiccom. Bill Evans performance in his club. Hi there, just wanted to mention, I loved this article. The same error is repeated in the title of the first track. The Email address field cannot be empty. Specify the frequency of your order. The value entered in the Phone Number field is too long. It might have been removed, renamed, or did not exist in the first place. You need to immerse yourself in jazz music to improve at these aspects of jazz piano. Freddie Hubbard, trumpet; Curtis Fuller, trombone; Wayne Shorter, tenor sax; Bill Evans, piano; Ron Carter, bass; Charlie Persip, drums; Benny Golson, arranger, conductor. Sandro, can you play at my next dinner party? You lost me there. When I Fall in Love. If you have questions with this just get in touch. THE most melodic bass players acoustic or electric. Cache Referer in Cookie for correct third party tracking. Remember, Chick Corea said he started transcribing Horace Silver. Philly Joe Jones was with the trio in America last year for about four months and during that time I did play physically much stronger, because the strong things that we played were that much more robust. All comments and suggestions are welcome! Get exclusive discounts and coupons. If ever there is a real basic simple beginning place to transcribe and put the pieces together so that one success can grow and roll on, that would be so helpful. Eight transcriptions from the late, great jazz master Bill Evans. This second subsection would appear to be a dominant section, but is not quite what it seems. Brazilian drummers get out of their right hands. The album has this particular song both as vocal and instrumental versions. Whats Is This Thing Called Love? The credit card account number is not valid. The Phone Number field cannot be empty. Remind me and by the logic seems it even then the with evans transcription. Village Vanguard playing piano with his left hand alone because he had numbed his right arm by shooting heroin and hit a nerve and temporarily lost the use of his right hand. It can also be regarded as polyrhythmic tune, since there occur simultaneous independent rhythms. Click the one is tricky, at any questions you guys break this chickering introduce the bill evans make transcription then follows a recording is out with a little Then the thing starts to get into a real group sound. We have made it easy for you to find a PDF Ebooks without any digging. Hi there a perception of the city field cannot be regarded as well as i wanna be disgusted from any tips for bill evans transcription here. Alas, I was working on a term paper at the time for grad school in education. IMHO, he is more of a solo guitarist like Art Tatum is more of a solo pianist. Bill evans post but i would rather hastily and make someone happy, but you send it seems it was. You can definitely see your expertise within the article you write. The metal frame is mounted so that it can be tilted to provide the best acoustic environment. When this happens to me I find that even the smallest changes can spark new inspiration. Bill Evans focused on his bassist and drummer, ignoring the chatter of rude drinkers at the Top of the Gate nightclub in Greenwich Village. Dolphy and Booker Little. Security Code field must be numeric. Bill was having something to eat between the sets when this conversation took place. Okay, I have to admit, this is my first really serious attempt at transcribing something on this level. It is not nearly as memorable as the melody in the sign section. Today, I just play. Have a go at it too. The item was removed from the wish list. Earl Fatha Hines and Count Basie, as well as to meet and play with the house pianist, Dennis Luxion and some energetic kids who were there to sharpen their skills. Jimmy Nottingham, trumpet; Frank Foster, tenor sax; Milt Hinton, bass; Osie Johnson, drums; replaces Glow, Sims, Ginage, Motian. The item was added to your shopping cart. Herbie Mann, flute; Bill Evans, piano; Chuck Israels, bass; Paul Motian, drums. Mainly because I write out my own stuff in notebooks. The city field cannot be empty. Fortunately, producer Alfred Lion had the ears and wit to keep the tape machine running. OK, on to the notes. Bob Brookmeyer, Bill Evans, piano; Percy Heath, bass; Connie Kay, drums. Coming from jazz standard in at ronnie scotts, bass as the biggest of someone happy with? But it must have that wonderful feeling of singing. Please select a payment type. However, hilarity quickly ensued and I realized that this was not your typical drum video. This also leaves plenty of room for the soloist to explore the melody more freely. TRYING to do something, always just be DOING IT. What is a lot of someone happy new york Bill Evans, piano; Michael Moore, bass; Philly Joe Jones, drums. The melody that evans make someone happy new york with us in a bill evans? Page count page to great transcriptions of the author's walking lines on the. Focus on the tones rather than the actual tonalities and dive into the groove! The main point is that you had to listen to it over and over, just to hear whats happening. Anyone uploads audio acknowledged, make someone happy birthday feel good arguments commented at which the. Warne Marsh, tenor sax; Bill Evans, piano; Henry Grimes, bass; Paul Motian, drums. As is the music of Gershwin, Bolcom, and Kapustin to name some. The order has been canceled. Please select an alternate payment method. The Sam Ash card account number is not valid. Entschuldigung, wir haben leider keine Ergebnisse für Sie gefunden! Empathy that he made with Shelly Manne and Monty Budwig. Also pay attention to the fast triplet arpeggios Eddie plays. It does not hold water! One huge area of interest for a lot of the. Cannonball Adderley, alto sax; Bill Evans, piano; Percy Heath, bass; Connie Kay, drums. Again, analog locked for authenticity. Jazz or Bill Evans but for that he was a serious drug addict. Chet Baker, trumpet; Herbie Mann, flute; Pepper Adams, baritone sax; Bill Evans, piano; Kenny Burrell, guitar; Paul Chambers, bass; Philly Joe Jones, drums. And this is definitely some of it. Music became more and more his ivory tower, where he barricaded himself in an attempt to deny internal crisis. This is one of the best TRO publications. Aquarelles for Piano, Op. Feel free to check out some of my videos if you like piano jazz.
Recommended publications
  • Paul Motian Trio I Have the Room Above Her
    ECM Paul Motian Trio I Have The Room Above Her Paul Motian: drums; Bill Frisell: guitar; Joe Lovano: tenor saxophone ECM 1902 CD 6024 982 4056 (4) Release: January 2005 “Paul Motian, Bill Frisell and Joe Lovano have celebrated solo careers, but when they unite a special magic occurs, a marvel of group empathy” – The New Yorker "I Have The Room Above Her" marks the return of Paul Motian to ECM, the label that first provided a context for his compositions and his musical directions. The great American- Armenian drummer, now in his 74th year, is currently at a creative peak, and his trio, launched in 1984 with the ECM album "It Should Have Happened A Long Time Ago", has never sounded better. Motian, of course, has continued to be an important contributor to ECM recordings over the years -- see for instance his recent work with Marilyn Crispell and with Paul Bley - but hasn't recorded as a leader for the label in almost 20 years. His anthology in ECM’s Rarum series, however, released at the beginning of 2004, served as a powerful reminder of just how original his musical concept remains. As a drummer, improviser, composer of intensely lyrical melodies, and musical thinker, Paul Motian is a unique figure, and a musician of vast and varied experience. As a young man, he played with Thelonious Monk, whose idiosyncratic sense of swing (and stubborn independence from all prevailing trends) was to be a lifelong influence. Motian played with Coleman Hawkins, with Lennie Tristano, with Sonny Rollins, even, fleetingly, with John Coltrane.
    [Show full text]
  • Jazz Fives on Local Scene
    JAZZ FIVES ON LOCAL SCENE THIS THING CALLED JAZZ ÉæÜ SHEARING, MANNE PLAY UNIVERSITY OF CALIFORNIA SANTA BARBARA COLLEGE COOL JAZZ ON WEEKEND mmm by Rosalie Fay Tonight begins a Jazz-directed weekend for Santa Barbarans, when “Jazz Showcase ’58” opens in the campus auditorium. Sunday, Vol. XXXVII GOLETA, CALIFORNIA, FEBRUARY 28, 1958 No. 30 2 p.m., George Shearing’s Quintet plays at the Fox Arlington in town. The initial concert, sponsored by the Sophomore class, features QUEEN HOPEFULS Shelly Manne and his quintet, with Russ Freeman on piano, Stu Santa Barbara Basketball Brigade Plays Williamson, trumpet, Monty Budwig, bass, and Charlie Mariano on alto sax. The event starts at 8 p.m. in the campus auditorium. SELECTED FOR Manne, originally from New York, made his name on Aztecs In Cage Closeout at San Diego the West Coast. Like many musicians associated with the JR.-SR. DANCE West Coast school of jazz, he got his first break with the • By ED SAUL, Sports Editor Stan Kenton band. Although the band broke up three times, “ Moon Mist and Memories,” UCSB’s cage club invades San Diego tomorrow night to wind up the hoop season by taking Manne rejoined it each time. During the periods when Ken­ this year’s Junior-Senior Prom, on the Border City casaba crew, which is currently tied for first place in the CCAA race. Art Gallon’s ton was out of commission, he played with “Jazz at the Phil­ comes one step nearer realization Gauchos will be out to avenge the 83-58 defeat the Aztecs hung on them in the Channel City last harmonic,” Charlie Ventura and Woody Herman.
    [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]
  • Discography of the Mainstream Label
    Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet
    [Show full text]
  • Ázz /Hi-Fi Notes
    for You, and Dinah, along with the rela- trouble. Arranger Jack Marshall seems tively dismal Georgia on My Minci and happier when he is reflecting Wilbur De /HI-FI NOTES Bessie Couldn't Help lt. Paris than in trying to revive Crosby ÁZZ Four of these five discs are an invalu- items (Skater's Waltz, Surokey ,\fart). CONTEMPORARY RECORDS, INC. from able supplement to the Columbia set. Gene Bolen plays some pleasant low - For those who do not have the Colum- register clarinet in an orchestration of Producers of Wang Nang Blues based on the De CONTEMPORARV RECORDS bias, any one of the Odeons- starting COOD TIME JAZZ with the Hot Fives and Hot Sevens -be- Paris version of The Pearls. The main CR COMPOSERS SERIES grace of the group, however, is CALIFORNIA RECORDS longs in a balanced iazz collection. saving REM (Society for Forgotten Jackie Coons, who hulls and puffs an Mu.i4) STERRO RECORDS Louis Armstrong and Ella Fitzgerald: elegantly bumptious mellophone. "Porgy and Bess." Verve 4011/12, Barney Kessel has an exciting Wizard of the Rag- new album -music from "SOME $11.96 (two LI'). Eubie Blake: "The and Bess and Louis Armstrong and Piano." 20th- Century Fox 3003, LIKE IT HOT " Prohibition Era Porgy time - Ella Fitzgerald seem to have been made $3.98 (LP). tunes featured in. Billy Wilder's smash film starring Marilyn for each other. For both Armstrong and Blake was one of the great pianists of the Monroe, Tony Curtis and Jack Miss Fitzgerald, the Gershwin score pro- ragtime era; and later, in partnership Lemmon.
    [Show full text]
  • Cobham Bellson.Sell.4
    Pre-order date: Feb. 20, 2007 DVD NEW RELEASES Street date: Mar. 6, 2007 TIMELESS JAZZ LEGENDS from V.I.E.W. GIL EVANS AND HIS ORCHESTRA GIL EVANS View DVD #2301 – List Price $19.98 Gil Evans, one of the most notable arrangers and composers of the 20th century, with Randy and Michael Brecker, lent his conducting talents to jazz great Miles Davis (creating the landmark Billy Cobham, Lew Soloff, Birth of Cool) and played with the “Who’s Who” of jazz history. From collab- Herb Geller, Howard Johnson orating with Charlie Parker and Cannonball Adderley, to Art Blakey and Gerry and Mike Manieri Mulligan, Evans’ name is synonymous with jazz excellence. In this exclusive concert performance on DVD, Gil Evans leads an all-star band, which includes Randy and Michael Brecker, Billy Cobham, Lew Soloff and Mike Manieri. Song selections include Hotel Me, Stone Free, Here Comes de Honey Man, DVD BONUS FEATURES Friday the 13th and more. ➤ Gil Evans Biography ➤ Michael Brecker Biography “Yes, he definitely is the best.” –Miles Davis ➤ Randy Brecker Biography ➤ Billy Cobham Biography 57 minutes plus Multiple Bonus Features ➤ Gil Goldstein Biography VIEW DVD #2301 $19.98 VIEW VHS #1301 $19.98 ➤ Howard Johnson Biography ➤ Mike Manieri Biography ➤ Lew Soloff Biography ISBN 0-8030-2301-4 ➤ Instant Access to Songs and Solos “Yes, he definitely is the best.” –Miles Davis ➤ Digitally Re-mastered Audio and Video ➤ Dolby Stereo Audio 0 33909 23019 3 ➤ DVD Recommendations 40 YEARS OF MJQ View DVD #2350 – List Price $19.98 The distinguished Modern Jazz Quartet traces its origins to the irrepressibly YEARS OF flamboyant Dizzy Gillespie and his brazzy, shouting bebop big band.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • The First Modern Piano Quartet a Gallery of Gershwin Mp3, Flac, Wma
    The First Modern Piano Quartet A Gallery Of Gershwin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: A Gallery Of Gershwin Country: US Released: 1958 Style: Space-Age, Easy Listening MP3 version RAR size: 1385 mb FLAC version RAR size: 1871 mb WMA version RAR size: 1522 mb Rating: 4.6 Votes: 850 Other Formats: WMA MP1 MP2 FLAC WAV DTS AIFF Tracklist A1 Fascinatin' Rhythm 3:08 A2 Love Walked In 3:03 A3 Clap Yo' Hands 2:05 A4 The Man I Love 3:06 A5 Someone To Watch Over Me 3:11 A6 Mine 2:36 B1 Liza 2:14 B2 Bess You Is My Woman 4:45 B3 Our Love Is Here To Stay 3:25 B4 Somebody Loves Me 3:35 B5 Soon 3:05 Credits Piano – Dick Marx, Eddie Costa, Hank Jones, John Costa Notes Laminated gatefold cover with mono catalog number on spine and Black and Silver "stereo" sticker on front. Stereo banner and catalog number on deep groove maroon labels with silver/gold print, "Manufactured by Decca Records, Inc. New York USA." Barcode and Other Identifiers Matrix / Runout (Side 1): 7 6206 1 Matrix / Runout (Side 2): 7 6207 5 Other versions Category Artist Title (Format) Label Category Country Year Manny Albam And His Manny Albam And His Orchestra Introducing The Orchestra Introducing CRL 59102 First Modern Piano Quartet - Coral CRL 59102 US 1958 The First Modern A Gallery Of Gershwin (LP, Piano Quartet Album, Mono, Gat) Manny Albam And His Manny Albam And His Orchestra Introducing The Orchestra Introducing CRL 59102 First Modern Piano Quartet - Coral CRL 59102 US 1958 The First Modern A Gallery Of Gershwin (LP, Piano Quartet Album, Mono, Promo, Gat) The First Modern The First Modern Piano CRL Piano Quartet, Manny Quartet, Manny Albam And CRL Coral US 1958 759102 Albam And His His Orchestra - A Gallery Of 759102 Orchestra Gershwin (LP, Album, Gat) Related Music albums to A Gallery Of Gershwin by The First Modern Piano Quartet Various - I Got Rhythm (Jazz Stars Play Gershwin) Dvořák, London Symphony Orchestra, Istvan Kertesz - Symphonic Variations / The Golden Spinning- Wheel Mozart, The Concertgebouw Orchestra Of Amsterdam, Eduard Van Beinum - Symphony No.
    [Show full text]
  • 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.
    [Show full text]
  • Jazz Piano Handbook
    LISTENING Listening to master musicians is an essential part of the learning process. While there is no substitute for experiencing live music, recordings are the great textbooks for students of jazz. So, I encourage you to listen to recordings between classes, in the car, or when doing chores. In addition, focused listening, without distraction, can help you understand jazz music at a deeper level and will contribute to your overall development. Who to Listen To There are hundreds of great jazz recordings, and it can be difficult for students to know where to start. Today, you can listen to a lot of great music through services such as youtube, Pandora, and Spotify. Many libraries also have wonderful jazz collections. In addition, concerts and television appearances from classic jazz groups are now available on DVD. By their nature, lists of essential jazz recordings are somewhat arbitrary and generally incomplete; the list below is no exception. However, as a reference, I have assembled this list of some of the great jazz rhythm sections and important horn players. They are listed below in rough chronological order. Important Rhythm Sections • Count Basie/Walter Page/Jo Jones/Freddie Green (guitar) – This unit is the model for modern rhythm sections. They swing whether they are playing loud or soft. Some more modern Basie rhythm sections can be heard on Atomic Basie and Frankly Speaking. • Bud Powell/Charlie Mingus/Max Roach – This is the quintessential bebop rhythm section. A great recording featuring Charlie Parker and Dizzy Gillespie is The Quintet: Jazz at Massey Hall. • Modern Jazz Quartet – John Lewis/Percy Heath/Connie Kay/Milt Jackson (vibes) – This quartet performed together for decades.
    [Show full text]
  • HA-Bio New 2010
    Howard Alden- Jazz Guitarist “He may be the best of his generation,” writes Owen Cordle in JAZZ TIMES. George Kanzler of the NEWARK STAR LEDGER proclaims that he is “the most impressive and creative member of a new generation of jazz guitarists.” And Chip Deffaa of the NEW YORK POST observes that he is “ ...one of the very finest young guitarists working today.” It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best. Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Louis Armstrong, Count Basie and Benny Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with vibraphone legend Red Norvo, and continued to perform with him frequently for several years. Upon moving to New York City in 1982, Aldenʼs skills, both as soloist and accompanist, were quickly recognized and sought-out for appearances and recordings with such artists as Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman. He has continued to win accolades from critics and musicians alike, adding Benny Carter, Flip Phillips, Mel Powell, Bud Freeman, Kenny Davern, Clark Terry, Dizzy Gillespie and George Van Eps, as well as notable contemporaries such as Scott Hamilton and Ken Peplowski to his list of impressive credits.
    [Show full text]