Monk 1917-1982
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THELONIOUS MONK SOLO Monkrar
THELONIOUS MONK - SOLO MONK.rar >>> DOWNLOAD (Mirror #1) 1 / 3 MidwayUSA..is..a..privately..held..American..retailer..of..various..hunting..and..outdoor- related..products.. SoloMonkMP3.rar...Premium..Download..Thelonious..Monk..-..Solo..Monk..(1965)..- ..Fast..&..Anonymous...Add..comment...Your..Name...Your..E-Mail.. Thelonious...Monk.zipka*****l.com132.95...MBThelonious...Monk.zip..... Despite.various.reissue.forma ts.over.several.decades,.the.seven.original.LPs.contained.in.Thelonious.Monk.-.The.Riverside.Tenor.S essions.stood.perfectly.well.on.their... thelonious..monk..-..live..at..the..olympia,paris..may..23rd,1965..-..cd..2.zip. ]Thelonious...Monk.../...S olo...Monk...Solo...Monk...:...Thelonious...Monk.../:...Sbme...Special...Mkts....:...2003/08/19.......Theloni ous...Monk...(p)........... Monk's...Point...10....I...Should...Care...11....Ask...Me...Now...12....These...Fooli sh...Things...(Remind...Me...Of...You)...13....Introspection...14....Darn...That...Dream...15....Dinah...(Ta ke...1)...16....Sweet...And...I..... Solo.Monk.is.the.eighth.album.Thelonious.Monk.released.for.Columbi a.Records.in.1965..The.album.is.composed.entirely.of.solo.piano.work.by.Monk..The.Allmusic.review. by... THELONIOUS..MONK..-..Monk's..Music..-..Amazon.com..Music..Interesting.....Though,..I..will..say.. it's..pretty..remarkable..that..Monk..doesn't..solo..much..on..this..recording.. Solo.Monk. 1964.Solo.M onk..1964.It's.Monk's.Time.(Remastered.2003).1964.Live.At.The.1964.Monterey.Jazz.Festival....1958. Thelonious.In.Action..1957.Thelonious.Monk.With.John... Thelonious..Monk's..solo..recordings..offer..f ascinating..insight..into..the..compositional..and..improvisational..talents..of..one..of..music's..true..o ddballs,..and..Alone..In..San.... My..favourite..album:..Brilliant..Corners..by..Thelonious..Monk.....Thelo nious..Monk's..Brilliant..Corners.....and..Rollins's..lazily..unfolding..and..huge-toned..tenor..solo. -
A Search and Retrieval Based Approach to Music Score Metadata Analysis
A Search and Retrieval Based Approach to Music Score Metadata Analysis Jamie Gabriel FACULTY OF ARTS AND SOCIAL SCIENCES UNIVERSITY OF TECHNOLOGY SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy April 2018 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as part of the collaborative doctoral degree and/or fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This research is supported by the Australian Government Research Training Program. Production Note: Signature: Signature removed prior to publication. _________________________________________ Date: 1/10/2018 _________________________________________ i ACKNOWLEGEMENT Undertaking a dissertation that spans such different disciplines has been a hugely challenging endeavour, but I have had the great fortune of meeting some amazing people along the way, who have been so generous with their time and expertise. Thanks especially to Arun Neelakandan and Tony Demitriou for spending hours talking software and web application architecture. Also, thanks to Professor Dominic Verity for his deep insights on mathematics and computer science and helping me understand how to think about this topic in new ways, and to Professor Kelsie Dadd for providing me with some amazing opportunities over the last decade. -
Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences
William Hanson Falk Seminar Spring 2008 Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences Thelonious Monk was a prolific and monumental figure in modem jazz. He directly contributed to the evolution of bebop, as well as influenced the development of free jazz, and the contributed additions to the standard jazz repertoire. Monk branched out fiom his influences, including swing, gospel, blues, and classical to create a unique style of composition and performance. Monk more than any other major figure in bebop, was, and remains, an original1 Monk's life can be categorized into three periods: the early, the middle, and late period. Each period lasts roughly twenty years: from 1917- 1940,1940-1960, and from 1960-1982. In Monk's early period he toured the US playing gospel music, and found early influences in swing music like Duke Ellington. It wasn't until his middle period that Monk began to record and write his compositions, and in his late period he toured the world with other renowned musicians playing bebop. Thelonious Junior ~onl?was born October 10,191 7 in Rocky Mountain, North Carolina to Barbara Batts Monk and Thelonious Monk, Senior. Thelonious was the middle child, with an older sister, Marion born in 1915, and younger brother, Thomas born in 1919. Monk's birth certificate lists his father as an ice puller, and his mother as a household worker. Although both of his parents could read and write, they struggled to make enough to live on. In 1922 Thelonious' mother insisted that she take the family to New York to make a better living. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [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; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
Order Form Full
JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen 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] 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: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
Jazzflits) BIG BAND COMPETITION HAARLEMMERMEER
1 15 de JAARGANG, NR. 276 17 APRIL 2017 IN DIT NUMMER: 1 NIEUWS 5 JAZZ OP PAPIER 6 JAZZ OP DE PLAAT Baars-Henneman, Bravo Big Band, Fabulous Jets, Raad van Toezicht, Somi, Lorrèn, Tim Finoulst, MJO, Simone Honijk, John Stein e.a. 15 JAZZ OP DE PLANKEN ICP Orkest en Marcel Worms . EN VERDER: 17 New York Calling (R. Plaatsman) 18 Bestsellers en tips Jazzcenter 19 Monks en Les Liaisons Dangereuses (B. IJpma) JAZZ FLITS 277 KOMT 1 MEI UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 JAZZNIEUWS DAAHOUD SALIM 5-TET WINT B-JAZZ CONTEST Saxofonist Donny McCaslin wint Paul Acket Award Saxofonist Donny McCaslin is de winnaar van de Paul Acket Award 2017. “2017 is Donny’s jaar en dat is zeer verdiend”, aldus jurylid Maurin Auxéméry van Festi- val International de Jazz de Montréal. “De kern van zijn werk is inventiviteit. Zijn avontuurlijke geest en ongelooflijke controle over zijn instrument maken deze saxofonist een van de belangrijkste muzikanten van zijn generatie. Ik ben blij dat hij dankzij zijn samenwerking met Bowie in de volle aandacht kwam te staan.” De Paul Acket Award wordt jaar- lijks uitgereikt op het North Sea Jazz Festival aan een artiest die een bredere publieke erkenning verdient voor zijn buitengewone muzikale kwaliteit. McCas- lin neemt de prijs zondag 9 juli in ont- vangst, tijdens een optreden op het Daahoud Salim Quintet. (Persfoto) festival in Rotterdam. Het Spaanse Daahoud Salim Quintet, dat bestaat uit Al Di Meola op Jazz in Duketown (oud-)studenten van het Conservatorium van Amsterdam, Gitarist Al Di Meola treedt 3 juni op tij- heeft 25 maart in Leuven de B-Jazz Contest gewonnen. -
Thelonious Monk Orchestra at Town Hall
ad" melody, his debt to thing he has RIVERSIDE »re at hand: ell as leader proudly presents id personal) Ie does better a new, ingeniously mes or with Ray Haynes distinguished and truly different in) provided ussive piano Thelonious Monk recording: armer’s style ic than per- he is rather but perhaps lulated by a lally obvious ch as the fact trast for him man group, ay be correct THELONIOUS is not up to that is his at „ I MONK THELONIOUS I MONK I NS—Decca bl uilty; It's Tat xtd Emotions; ORCHESTRA uuday Kind Of ORCHESTRA '-ike My Baby; If Rain; Don't a. with varioM AT erent danger ■d labels: the t of old stuff n. TOWN s for Verve, dently a pas- ecording ses- s Fitzgerald's HALL Reasons, she m Boys; on Monaural: Riverside RLP 12-300 Stereo: Riverside RLP 1138 and an or- vith the Ray :stra directed ith the Song The debut performance of this new Monk band, recorded in concert orchestra; on at New York’s Town Hall, makes a really startling and unique album. le Andy Love er Bob Hag- Full-scale orchestrations of great Monk compositions add a new creative dimension nes are poor, to the work of one of the major forces of modem jazz. ases, terrible, rercial songs, (Special note: Listen to Little Rootie Tootie ly. Ella does in particular, for the most exciting sound of the year!) her best isn’t Soloists include Thelonious (in rare form), edious medi- Donald Byrd, Phil Woods, Charlie Rouse, Pepper Adams. -
Text-Based Description of Music for Indexing, Retrieval, and Browsing
JOHANNES KEPLER UNIVERSITAT¨ LINZ JKU Technisch-Naturwissenschaftliche Fakult¨at Text-Based Description of Music for Indexing, Retrieval, and Browsing DISSERTATION zur Erlangung des akademischen Grades Doktor im Doktoratsstudium der Technischen Wissenschaften Eingereicht von: Dipl.-Ing. Peter Knees Angefertigt am: Institut f¨ur Computational Perception Beurteilung: Univ.Prof. Dipl.-Ing. Dr. Gerhard Widmer (Betreuung) Ao.Univ.Prof. Dipl.-Ing. Dr. Andreas Rauber Linz, November 2010 ii Eidesstattliche Erkl¨arung Ich erkl¨are an Eides statt, dass ich die vorliegende Dissertation selbstst¨andig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen und Hilfsmittel nicht benutzt bzw. die w¨ortlich oder sinngem¨aß entnommenen Stellen als solche kenntlich gemacht habe. iii iv Kurzfassung Ziel der vorliegenden Dissertation ist die Entwicklung automatischer Methoden zur Extraktion von Deskriptoren aus dem Web, die mit Musikst¨ucken assoziiert wer- den k¨onnen. Die so gewonnenen Musikdeskriptoren erlauben die Indizierung um- fassender Musiksammlungen mithilfe vielf¨altiger Bezeichnungen und erm¨oglichen es, Musikst¨ucke auffindbar zu machen und Sammlungen zu explorieren. Die vorgestell- ten Techniken bedienen sich g¨angiger Web-Suchmaschinen um Texte zu finden, die in Beziehung zu den St¨ucken stehen. Aus diesen Texten werden Deskriptoren gewon- nen, die zum Einsatz kommen k¨onnen zur Beschriftung, um die Orientierung innerhalb von Musikinterfaces zu ver- • einfachen (speziell in einem ebenfalls vorgestellten dreidimensionalen Musik- interface), als Indizierungsschlagworte, die in Folge als Features in Retrieval-Systemen f¨ur • Musik dienen, die Abfragen bestehend aus beliebigem, beschreibendem Text verarbeiten k¨onnen, oder als Features in adaptiven Retrieval-Systemen, die versuchen, zielgerichtete • Vorschl¨age basierend auf dem Suchverhalten des Benutzers zu machen. -
A Transformational Approach to Jazz Harmony
A TRANSFORMATIONAL APPROACH TO JAZZ HARMONY Michael McClimon Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music, Indiana University January 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee Julian Hook, Ph.D. Kyle Adams, Ph.D. Blair Johnston, Ph.D. Brent Wallarab, M.M. December 9, 2015 ii Copyright © 2016 Michael McClimon iii Acknowledgements This project would not have been possible without the help of many others, each of whom deserves my thanks here. Pride of place goes to my advisor, Jay Hook, whose feedback has been invaluable throughout the writing process, and whose writing stands as a model of clarity that I can only hope to emulate. Thanks are owed to the other members of my committee as well, who have each played important roles throughout my education at Indiana: Kyle Adams, Blair Johston, and Brent Wallarab. Thanks also to Marianne Kielian-Gilbert, who would have served on the committee were it not for the timing of the defense during her sabbatical. I would like to extend my appreciation to Frank Samarotto and Phil Ford, both of whom have deeply shaped the way I think about music, but have no official role in the dissertation itself. I am grateful to the music faculty of Furman University, who inspired my love of music theory as an undergraduate and have more recently served as friends and colleagues during the writing process.